https://henriquefurtado.cargo.site Henrique Furtado Vieira Thu, 11 Dec 2025 14:06:46 +0000 https://henriquefurtado.cargo.site en https://henriquefurtado.cargo.site/Home Fri, 20 Jul 2018 09:00:54 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/Home Stand still, you ever-moving spheres of heaven That time may cease, and midnight never come https://henriquefurtado.cargo.site/Quando-os-Anjos-falam-de-amor Fri, 17 Oct 2025 14:48:54 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/Quando-os-Anjos-falam-de-amor Quando os anjos falam de amor « Qual é o sonho que tens para a tua casa? » ︎ orumodofumo.com Quando os anjos falam de amor (2025)“Quando os Anjos Falam de Amor” é uma performance-ritual que acontece dentro das casas e com quem nelas habita. Inspirada nos Caça-Fantasmas, uma equipa de quatro intérpretes visita famílias e constelações afetivas para abrir um espaço de escuta e imaginação coletiva, convocando as presenças invisíveis que atravessam a intimidade: lutos, legados, memórias, sonhos e formas diversas de amar. Cada sessão transforma a casa num território ritual, feito de histórias partilhadas, jogos, gestos oraculares, palavras de luta, oferendas afetivas, danças silenciosas e objetos do quotidiano que ganham novos sentidos. No encontro entre anfitriões e visitantes, entre cuidado e contradição, entre riso e comoção, abre-se uma pergunta: e se a intimidade pudesse ser um lugar seguro? A performance cruza o pensamento de pessoas como bell hooks, Edouard Louis, Alexandre Coimbra Amaral e Marshall Rosenberg, evocando anjos não como entidades salvadoras, mas como presenças internas, celulares, que sussurram outras formas de amar - menos idealizadas e mais encarnadas. Estes anjos não têm asas: têm carne, dúvidas e desejo de aprender. "Quando os Anjos Falam de Amor" é um chamamento para que, entre os escombros do que herdámos, possamos imaginar vínculos mais justos, relações mais vivas e cultivar um amor íntimo, coletivo e radical. Este trabalho nasce de um processo pessoal de perda e tentativa de compreensão: a ruptura de um núcleo familiar profundamente desejado, o luto por um projeto de vida que se desfez e a vontade de oferecer, à minha filha e ao mundo, outra visão possível de “família” - uma onde o amor se manifeste como prática quotidiana, e não apenas como promessa ou ideal. Para tratar estas questões, convidei colaboradoras próximas a juntarem-se a mim neste processo, trazendo também as suas próprias histórias de amor e violência. Juntas, damos corpo a uma resposta performativa que é, ao mesmo tempo, escuta, exposição e tentativa de reparação. When angels speak of love (2025)“When Angels Speak of Love” is a ritual performance that takes place inside homes and with those who live there. Inspired by Ghostbusters, a team of four performers visits families and emotional constellations to open up a space for listening and collective imagination, summoning the invisible presences that permeate intimacy: grief, legacies, memories, dreams, and different ways of loving. Each session transforms the home into a ritual territory, made up of shared stories, games, oracular gestures, words of struggle, emotional offerings, silent dances and everyday objects that take on new meanings. In the encounter between hosts and visitors, between care and contradiction, between laughter and commotion, a question arises: what if intimacy could be a safe place? The performance crosses the thinking of people such as bell hooks, Edouard Louis, Alexandre Coimbra Amaral and Marshall Rosenberg, evoking angels not as saving entities, but as internal, cellular presences that whisper other ways of love – less idealised and more embodied. These angels have no wings: they have flesh, doubts and a desire to learn. ‘When Angels Speak of Love’ is a call for us, amid the rubble of what we have inherited, to imagine fairer bonds, more vibrant relationships, and to cultivate an intimate, collective, and radical love. This work stems from a personal process of loss and attempted understanding: the breakdown of a deeply desired family unit, the mourning of a life project that fell apart, and the desire to offer my daughter and the world another possible vision of ‘family’ — one where love manifests itself as a daily practice, and not just as a promise or ideal. To address these issues, I invited close collaborators to join me in this process, bringing their own stories of love and violence. Together, we give shape to a performative response that is, at the same time, listening, exposure, and an attempt at reparation. Artistic direction, co-creation and performance Henrique Furtado Vieira Performance and co-creation Catarina Vieira, Leonor Mendes and Sérgio Diogo Matias Costumes and props Marisa Escaleira Outside eye Joclécio Azevedo Documentation Maria João Guardão Project coordination Daniela Ribeiro / O Rumo do Fumo Executive production and communication Carlota Borges Lloret / O Rumo do Fumo Financial Support GDA, O Rumo do Fumo Co-production Festival Circular, Temps d’Images. Acknowledgments António Simões, Carlota Lloret, João Albano, Laura Virissimo, Leonor Cabral, Lígia Soares, Luísa Fidalgo, Mariana Ferreira, Paulo Quedas, Raquel André, Roque Ricardo, Simone Rodrigues, Sofia Simões, Tónan Quito O Rumo do Fumo is financed by República Portuguesa - Cultura | Direcção-Geral das Artes &nbsp; Press review "Quando os anjos falam de amor" tem cabeça e coraçãode Ana Trocado Marques, Jornal de Notícias Casas-templo murmuram no Circular Festivalde Rita Xavier, Jornal Público <img width="4060" height="2707" width_o="4060" height_o="2707" data-src="https://freight.cargo.site/t/original/i/9ebb86a8d3cd1b32036b653500d91f5fb754374ff315b0ae2410074f5ce8f479/Cpia-de-CARLOSCARNEIRO_36.JPG" data-mid="239490431" border="0" src="https://freight.cargo.site/w/1000/i/9ebb86a8d3cd1b32036b653500d91f5fb754374ff315b0ae2410074f5ce8f479/Cpia-de-CARLOSCARNEIRO_36.JPG" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/1a817525d0438189943a5d93221e70e45a8daeead1b7357fb5d4f328261ae10d/Cpia-de-CARLOSCARNEIRO_25.JPG" data-mid="239490433" border="0" src="https://freight.cargo.site/w/1000/i/1a817525d0438189943a5d93221e70e45a8daeead1b7357fb5d4f328261ae10d/Cpia-de-CARLOSCARNEIRO_25.JPG" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/640cc62caf40b8726d2858bf4ba96e8b5fc925c6a58732fc76f590c3a14afa89/Cpia-de-CARLOSCARNEIRO_27.JPG" data-mid="239490432" border="0" src="https://freight.cargo.site/w/1000/i/640cc62caf40b8726d2858bf4ba96e8b5fc925c6a58732fc76f590c3a14afa89/Cpia-de-CARLOSCARNEIRO_27.JPG" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/eac04b095742559323ce5fd1549994ce3c99f162aa27e180d8e60f28fe6b7c9e/Cpia-de-CARLOSCARNEIRO_02.JPG" data-mid="239490437" border="0" src="https://freight.cargo.site/w/1000/i/eac04b095742559323ce5fd1549994ce3c99f162aa27e180d8e60f28fe6b7c9e/Cpia-de-CARLOSCARNEIRO_02.JPG" /> © Carlos Carneiro <img width="4724" height="3150" width_o="4724" height_o="3150" data-src="https://freight.cargo.site/t/original/i/24520f43b7741c13a85bb2fb8d546ea7f63c658d6277cb8b11d04417fd26def5/Cpia-de-Susana_Neves-Anjos-9510.jpg" data-mid="239490436" border="0" src="https://freight.cargo.site/w/1000/i/24520f43b7741c13a85bb2fb8d546ea7f63c658d6277cb8b11d04417fd26def5/Cpia-de-Susana_Neves-Anjos-9510.jpg" /> <img width="1350" height="900" width_o="1350" height_o="900" data-src="https://freight.cargo.site/t/original/i/692864f12af2e2b9287e514de5c45755207d60586d68fd48758973bc30ee3e9b/Cpia-de-Susana_Neves-Anjos-9257.jpg" data-mid="239490434" border="0" src="https://freight.cargo.site/w/1000/i/692864f12af2e2b9287e514de5c45755207d60586d68fd48758973bc30ee3e9b/Cpia-de-Susana_Neves-Anjos-9257.jpg" /> <img width="3150" height="4724" width_o="3150" height_o="4724" data-src="https://freight.cargo.site/t/original/i/da25e77cf4e27b379079a42408772befe691155605010ac63e2f58df4736d0ea/Cpia-de-Susana_Neves-Anjos-9398.jpg" data-mid="239490435" border="0" src="https://freight.cargo.site/w/1000/i/da25e77cf4e27b379079a42408772befe691155605010ac63e2f58df4736d0ea/Cpia-de-Susana_Neves-Anjos-9398.jpg" /> © Susana Neves Support &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="2126" height="591" width_o="2126" height_o="591" data-src="https://freight.cargo.site/t/original/i/ebcf05a9a5d7a41fc915e706f4a982eb0070ffb629f11c24803596f7838d6bd4/dgartes_horizontal-cmyk.png" data-mid="239492239" border="0" data-scale="39" src="https://freight.cargo.site/w/1000/i/ebcf05a9a5d7a41fc915e706f4a982eb0070ffb629f11c24803596f7838d6bd4/dgartes_horizontal-cmyk.png" /><img width="535" height="265" width_o="535" height_o="265" data-src="https://freight.cargo.site/t/original/i/fcf8c062c1969fc436c841b00d21831a6d65a5762f1a34541c7bf808c6b63f44/Digital_PT_4C_V_FC_Cultura.jpg" data-mid="239492238" border="0" data-scale="21" src="https://freight.cargo.site/w/535/i/fcf8c062c1969fc436c841b00d21831a6d65a5762f1a34541c7bf808c6b63f44/Digital_PT_4C_V_FC_Cultura.jpg" /> &nbsp; &nbsp; https://henriquefurtado.cargo.site/Morrer-pelos-Passarinhos Fri, 16 Feb 2024 10:40:35 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/Morrer-pelos-Passarinhos Morrer pelos Passarinhos collaboration with Lígia Soares︎ orumodofumo.com Henrique Furtado Vieira e Lígia Soares, juntam-se pela primeira vez numa criação para estudar, reproduzir, reinventar formas artísticas resultantes de sistemas em colapso e, com isso, criar uma coleção de performances baseada na relação histórica entre a crise e a emergência de diferentes vanguardas artísticas. Henrique Furtado Vieira and Lígia Soares have come together for the first time in a creative project to study, reproduce and reinvent artistic forms resulting from collapsing systems and, with this, create a collection of performances based on the historical relationship between the crisis and the emergence of different artistic vanguards. Morrer pelos Passarinhos (2024/2025)Morrer Pelos Passarinhos visa encontrar formas de partilhar significativamente com o público o fim de um mundo conforme o fomos conhecendo e a possibilidade de um luto coletivo que nos possa confrontar com o não-sentido, com o vazio, com o medo, com a desumanização, mas principalmente, uns com os outros. Vários movimentos da vanguarda artística surgiram após momentos traumáticos da história, momentos em que a humanidade mostrou novos alcances para a sua capacidade autodestrutiva - as Grandes Guerras que se sucederam ou a Guerra Fria com a sua ameaça atómica. Hoje, anos 20 do século. XXI, vivemos mais uma vez perante o “fim do mundo”. Perante a derrocada iminente que estratégias podemos usar para combater a “impotência da nossa vontade consciente”? Se no séc. XX, a apologia da informação, tão necessária como consequente ao possível progresso civilizacional, era ainda a máxima que poderia salvar-nos e ao mundo de atos violentos, hoje sabemos que a nossa agressão ao planeta que habitamos nos está já a ser fatal e, por alguma razão absolutamente extraordinária, vivemos com essa informação de uma forma consciente e passiva, perpetuando a nossa participação ativa na sua destruição. O projeto busca assim inspiração nos movimentos artísticos históricos que surgiram em resposta a períodos de crise, como o Dadaísmo, a dança expressionista e o teatro do absurdo, para enfrentar os desafios atuais, como a crise ambiental e o sentimento de impotência diante de sistemas globais complexos.&nbsp; Uma das características mais distintivas de Morrer Pelos Passarinhos é o seu foco na participação ativa do público. Envolvendo diretamente participantes locais, espetadores e transeuntes no espaço público nas performances, o projeto não apenas democratiza o processo criativo, mas também fortalece a relação entre os artistas e a comunidade, permitindo que todos contribuam para a sua narrativa. O projeto ambiciona criar um espaço onde a arte não apenas representa ou critica a realidade, mas também participa ativamente na modelagem de futuros possíveis, engajando o público de maneira significativa e transformadora.&nbsp; A coleção Morrer Pelos Passarinhos funciona como um espólio de performances prontas a ativar e a adequar aos espaços e contextos de circulação aproveitando as suas diferentes características e múltiplas possibilidades de adaptação. To Die for Little Birds (2024/2025)TO DIE FOR LITTLE BIRDS aims to find meaningful ways to communicate with the public about the end of the world as we have known, exploring a kind of collective mourning that can confront us with emptiness, with fear, with dehumanization, but mainly with each other. Several avant-garde art movements emerged after traumatic moments in history, moments when humanity’s ability for self-destruction reached new levels – both World Wars, one after the other, or the Cold War and its atomic threat. Today, in the 20s of the 21st century, we are once again facing the “end of the world”. Faced with imminent collapse, what strategies can we use to combat the “powerlessness of our conscious will”? In the 20th century, the advocacy of information, both a necessity and a consequence of civilization’s progress, was still the dictum that might save us and the world from violent acts, but we now know that our aggression against the planet we inhabit is already proving fatal to us, and, for some absolutely unfathomable reason, we continue living with this information in a conscious and passive way, perpetuating our active participation in its destruction. The project seeks inspiration from historical artistic movements that emerged in response to periods of crisis, such as Dadaism, expressionist dance and the theatre of the absurd, to face current challenges, such as the environmental crisis and the feeling of powerlessness in the face of complex global systems. One of the most distinctive features of TO DIE FOR LITTLE BIRDS is its focus on active audience participation. By directly involving local participants, spectators and passersby in public space in the performances, the project not only democratizes the creative process, but also strengthens the relationship between artists and the community, allowing everyone to contribute to its narrative. The project aims to create a space where art not only represents and/or criticizes reality, but also actively participates in shaping possible futures, engaging the public in a meaningful and transformative way. TO DIE FOR LITTLE BIRDS collection functions as a collection of performances ready to be activated and adapted to spaces and circulation contexts, taking advantage of their different characteristics and multiple possible adaptations. Direction, creation and performance Lígia Soares e Henrique Furtado Vieira From an original idea by Lígia Soares e Maria Jorge Production director Ana Lobato Technical direction and lighting design Hugo Coelho Musical composition and sound design João Lucas Performance (Triumphal Ode) Iqbal HossainParticipation in creation workshops Coline Gras, Daniela Melo, Duarte Romão, Filipa Noronha, Lara Almeida, Marissel Marques, Marta Nogueira, Pedro Jesus and Zé Alves Production Romance Associação Cultural Coproductions Teatro-Cine Torres Vedras (PT) and Teatro Municipal do Porto (PT) /// Creation and performance residencies Gretua (Aveiro), Festival END (Coimbra), Rua das Gaivotas 6 (Lisboa), A Gráfica (Setúbal)&nbsp; /// Residency support Pólo Cultural das Gaivotas (Lisboa), O Rumo do Fumo (Lisboa), Centro Cultural da Malaposta / Minutos Redondos (Odivelas), LAMA Teatro (Faro), OPART and Estúdios Victor Córdon (Lisboa) /// Acknowledgments&nbsp; Afonso Matos, Giulia Dal Piaz Funded by República Portuguesa/ Dgartes - Direção Geral das Artes /// Press review Ironia sensível com lucidez poética em "Morrer pelos passarinhos" De Catarina Ferreira, Jornal de Notícias #1: Godôs"Godôs" é uma performance que explora a temática da espera, onde os artistas tentam convencer transeuntes a ocupar o palco vazio de um teatro, enquanto o público acompanha essa busca imprevisível em tempo real, criando um encontro inesperado entre o espectador e o "Godot". "Godos" is a performance that explores the theme of waiting, where the artists attempt to persuade passersby to occupy the empty stage of a theater, while the audience follows this unpredictable search in real time, creating an unexpected encounter between the spectator and the "Godot." <img width="3963" height="2642" width_o="3963" height_o="2642" data-src="https://freight.cargo.site/t/original/i/e63cb37e89b7fb5901737b04b19dd1edd1e23e268a7a716cc9153ab8c2f848f0/20240321_TAGV_Tatiana-LAges_003.jpg" data-mid="220341680" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/e63cb37e89b7fb5901737b04b19dd1edd1e23e268a7a716cc9153ab8c2f848f0/20240321_TAGV_Tatiana-LAges_003.jpg" /> <img width="5807" height="3871" width_o="5807" height_o="3871" data-src="https://freight.cargo.site/t/original/i/b2b1a6d01287f59d184eeb4c6e6525a12c2cfacc7b7aee9432c4e1a65363fabf/20240321_TAGV_FESTIVALEND_2_MORRERPELOS-PASSARINHOS_005_TatianaLages.jpg" data-mid="220341702" border="0" src="https://freight.cargo.site/w/1000/i/b2b1a6d01287f59d184eeb4c6e6525a12c2cfacc7b7aee9432c4e1a65363fabf/20240321_TAGV_FESTIVALEND_2_MORRERPELOS-PASSARINHOS_005_TatianaLages.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/aaf7d655269e94956c0919bf71d0bb6634c4af10bac0749997bf85cc6ba687b9/_H1A2696AP.jpg" data-mid="220341690" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/aaf7d655269e94956c0919bf71d0bb6634c4af10bac0749997bf85cc6ba687b9/_H1A2696AP.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; © Tatiana Lages e © Alípio Padilha #2: Bocas"Bocas" é uma performance onde os performers, através de diálogos virtuais projetados nos telemóveis que seguram à frente dos rostos, exploram de forma trágico-cómica a tensão entre a comunicação digital e a desconexão física, refletindo a solidão moderna gerada pela tecnologia. "Not We" is a performance in which the performers, through virtual dialogues projected on the mobile phones they hold in front of their faces, explore in a tragicomic way the tension between digital communication and physical disconnection, reflecting on the modern loneliness generated by technology. <img width="5548" height="3699" width_o="5548" height_o="3699" data-src="https://freight.cargo.site/t/original/i/13fa0f261cccf193e40cead337c7e8139710fc10e01d858f956417ae886d6fba/_H1A2952AP.jpg" data-mid="220341688" border="0" src="https://freight.cargo.site/w/1000/i/13fa0f261cccf193e40cead337c7e8139710fc10e01d858f956417ae886d6fba/_H1A2952AP.jpg" /> <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4d5146872149d025c6f5f30106808f6da8f4b961e47c1dcc90ac44304c326688/_H1A2856AP.jpg" data-mid="220341689" border="0" data-scale="24" src="https://freight.cargo.site/w/1000/i/4d5146872149d025c6f5f30106808f6da8f4b961e47c1dcc90ac44304c326688/_H1A2856AP.jpg" /> <img width="5292" height="3528" width_o="5292" height_o="3528" data-src="https://freight.cargo.site/t/original/i/b2dde49ebe1484abfe329d785b5b8ba0799851565e28bb06a2559121fddd1903/_H1A3000AP.jpg" data-mid="220341687" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/b2dde49ebe1484abfe329d785b5b8ba0799851565e28bb06a2559121fddd1903/_H1A3000AP.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; © Alípio Padilha #3: Apóstrof’apocalipse "Apóstrof'Apocalipse" é uma experiência imersiva onde o público, envolvido numa sequência sonora e textual intensa, recita karaokes poéticos em uníssono, explorando temas contemporâneos. "Apostroph’Apocalypse" is an immersive experience where the audience, enveloped in an intense sequence of sound and text, recites poetic karaoke in unison, exploring contemporary themes. <img width="5805" height="3870" width_o="5805" height_o="3870" data-src="https://freight.cargo.site/t/original/i/a2980b087984b4d0d64ebaa02b9be11198d1107a71a6dce936f2c1aebeeb754a/_H1A3047AP.jpg" data-mid="220341685" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/a2980b087984b4d0d64ebaa02b9be11198d1107a71a6dce936f2c1aebeeb754a/_H1A3047AP.jpg" /> <img width="5383" height="3589" width_o="5383" height_o="3589" data-src="https://freight.cargo.site/t/original/i/41225c0f5d41fe8f6b5b793e46fa61350914ce08ada7bbce09a6aa107cc8f257/_H1A3029AP.jpg" data-mid="220341686" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/41225c0f5d41fe8f6b5b793e46fa61350914ce08ada7bbce09a6aa107cc8f257/_H1A3029AP.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; © Alípio Padilha #4: Butôdadá "Butôdadá" é uma performance instalativa onde cada performer improvisa um solo coreográfico e vocal inspirado na dança Butoh e no dadaísmo, enquanto o público circula pelo espaço e descobre frases que intensificam a experiência, confrontando corpo, linguagem e temas contemporâneos. "Butodada" is an installation performance where each performer improvises a choreographic and vocal solo inspired by Butoh dance and Dadaism, as the audience moves through the space and discovers phrases that intensify the experience, confronting body, language, and contemporary themes. <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f10c33ce2e0f5592881711b2cd638b91d81fe9525bda43f08f2740eda3b97f9d/_H1A3126AP.jpg" data-mid="220341683" border="0" src="https://freight.cargo.site/w/1000/i/f10c33ce2e0f5592881711b2cd638b91d81fe9525bda43f08f2740eda3b97f9d/_H1A3126AP.jpg" /> <img width="5514" height="3676" width_o="5514" height_o="3676" data-src="https://freight.cargo.site/t/original/i/6972617494b6b87462d8e87cc5ff057c834e13245ea85dc787fc84bc3434a980/_H1A3117AP.jpg" data-mid="220341684" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/6972617494b6b87462d8e87cc5ff057c834e13245ea85dc787fc84bc3434a980/_H1A3117AP.jpg" /> <img width="6192" height="4128" width_o="6192" height_o="4128" data-src="https://freight.cargo.site/t/original/i/0d0be4ed3a4712dc35a35e47c7aa75c86cc47f419f9eef93518ac66c7146b966/20240322_TAGV_FESTIVALEND_5_MORRERPELOSPASSARINHOS2_033_TatianaLages.jpg" data-mid="220341679" border="0" src="https://freight.cargo.site/w/1000/i/0d0be4ed3a4712dc35a35e47c7aa75c86cc47f419f9eef93518ac66c7146b966/20240322_TAGV_FESTIVALEND_5_MORRERPELOSPASSARINHOS2_033_TatianaLages.jpg" /> © Alípio Padilha&nbsp; e © Tatiana Lages #5: A Piscina "A Piscina" transforma uma ação comum de protesto climático - lançar tinta verde - em elemento central de uma performance, onde o confronto entre ativismo e arte gera uma escalada absurda de críticas e dúvidas sobre realidade e ficção, culminando numa participação ativa do público e numa reflexão sobre a neutralização do discurso político na arte. "The Pool" transforms a common act of climate protest—throwing green paint—into the central element of a performance, where the confrontation between activism and art triggers an absurd escalation of critique and questions of reality versus fiction, culminating in active audience participation and a reflection on the neutralization of political discourse within art. <img width="1056" height="1704" width_o="1056" height_o="1704" data-src="https://freight.cargo.site/t/original/i/0a40f98e64a454fe9668e9f1589188c5b1d58207e039b565dd7c11a382b49776/fotomontagem-1.jpg" data-mid="220341681" border="0" data-scale="15" src="https://freight.cargo.site/w/1000/i/0a40f98e64a454fe9668e9f1589188c5b1d58207e039b565dd7c11a382b49776/fotomontagem-1.jpg" /> #6: Ode Triunfal Em “Ode Triunfal”, um workshop conduzido por Iqbal Hossain, imigrante bengali, convida os espectadores a lançar brinquedos voadores luminosos ao céu num espaço público, refletindo poeticamente sobre trabalho, fronteiras e liberdade, culminando num momento de união e celebração ao som do hino da seleção de cricket do Bangladesh para o campeonato mundial de 2024. In "Triumphal Ode", a workshop led by Iqbal Hossain, a Bengali immigrant, invites spectators to launch luminous flying toys into the sky in a public space, reflecting poetically on work, borders, and freedom, culminating in a moment of unity and celebration to the anthem of Bangladesh’s cricket team for the 2024 World Cup. <img width="4869" height="3246" width_o="4869" height_o="3246" data-src="https://freight.cargo.site/t/original/i/fd798af05c66b304d09a60f8a8a45e95d6a40ba8dce350cd78d84ec41f2f9227/_H1A3327AP.jpg" data-mid="220341682" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/fd798af05c66b304d09a60f8a8a45e95d6a40ba8dce350cd78d84ec41f2f9227/_H1A3327AP.jpg" /> <img width="1700" height="1133" width_o="1700" height_o="1133" data-src="https://freight.cargo.site/t/original/i/ac2225eca9a3e34660bb919f65f7cc11b68c012e3f8d45ed35b97a75b735a580/_H1A3535AP-1.jpg" data-mid="220341770" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/ac2225eca9a3e34660bb919f65f7cc11b68c012e3f8d45ed35b97a75b735a580/_H1A3535AP-1.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; © Alípio Padilha Support &nbsp; &nbsp; <img width="2126" height="591" width_o="2126" height_o="591" data-src="https://freight.cargo.site/t/original/i/4d508451c9a3f04979ace1ce49e8d1f2f2f26c6522ec36628384e5be0c703631/dgartes_horizontal-cmyk.png" data-mid="204778444" border="0" data-scale="42" src="https://freight.cargo.site/w/1000/i/4d508451c9a3f04979ace1ce49e8d1f2f2f26c6522ec36628384e5be0c703631/dgartes_horizontal-cmyk.png" />&nbsp; &nbsp;<img width="500" height="108" width_o="500" height_o="108" data-src="https://freight.cargo.site/t/original/i/f7bf24e3f37daf9c3256dff01fd313ca6b48d571dbd5d9a5e901e963569c2afb/logo_tmp_animado.png" data-mid="204775727" border="0" data-scale="46" src="https://freight.cargo.site/w/500/i/f7bf24e3f37daf9c3256dff01fd313ca6b48d571dbd5d9a5e901e963569c2afb/logo_tmp_animado.png" /> <img width="225" height="225" width_o="225" height_o="225" data-src="https://freight.cargo.site/t/original/i/31e4ef6f9bfe1d4d8feac5f55e073ce25e2d5f49048e7f3e75957849a58cc9ad/download-1.jpeg" data-mid="204778383" border="0" data-scale="17" src="https://freight.cargo.site/w/225/i/31e4ef6f9bfe1d4d8feac5f55e073ce25e2d5f49048e7f3e75957849a58cc9ad/download-1.jpeg" /> https://henriquefurtado.cargo.site/_chaoceu Thu, 11 Dec 2025 14:06:46 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/_chaoceu _chãocéu| collaboration with Vera Mantero and João Bento︎ orumodofumo.com « O corpo, mais do que pensar, vagueia em inversões. Em fervuras de sinalisópticos contraditórios. » _chãocéu| (2024) Há muitos materiais surgidos no processo de criação da peça O Susto é Um Mundo (2021) que ficaram por explorar e aprofundar, pontas soltas que não se chegaram a agarrar, por falta de tempo ou por não encontrarem o seu lugar no trabalho. Desde 2023 Vera Mantero iniciou um processo de criação de “micro-peças” feitas precisamente a partir da exploração e aprofundamento desses mesmos materiais, juntamente com intérpretes e colaboradores presentes nesse mesmo Susto, primeiro com Teresa Silva e Santiago Tricot em Um pequeno exercício de composição (2023) e agora com Henrique Furtado e João Bento em _chãocéu| Na primeira dessas micro-peças, um dos elementos presentes na cenografia d’O Susto foi replicado, um anel de ferro de cerca de 2m de diâmetro, e os dois anéis, juntamente com as duas intérpretes, tornaram-se protagonistas centrais desse “... pequeno exercício” austero e praticamente silencioso de sincronia no tempo e geometria no espaço. Em _chãocéu| escolheu-se um outro elemento cenográfico vindo da peça O Susto, mas pouco utilizado nesta, e também aqui multiplicado, agora por três: um escadote. Em O Susto, o escadote surge porque se quis, simbolicamente falando, “tocar nos pés dos deuses”. Em _chãocéu| tentou-se ver como seria isso de facto, como seria tocar nos pés dos deuses e segurar o céu, que está a cair, como todos sabemos. E, assim, os três corpos levitam agora ao alto, obrigando-nos a elevar o olhar. A acção desprende-se do chão, o mundo fica pequeno cá em baixo. Três anjos-pássaros deambulam sobre as nossas cabeças, deixando-nos na inquietação de saber se descerão e nos ajudarão a compreender o tumulto do plano rasante. Figuras míticas e fantásticas várias vão surgindo (deusas e deuses, gárgulas, guerreiros e guerreiras…), intermediárias entre o cima e o baixo, praticando acções-tarefas-danças-sons, numa sequência de insólitas relações entre opostos. Novamente o espanto, o sonho, sempre o susto – e uma busca material do inconsciente. Se em O Susto as palavras proferidas pareciam materializar-se em jogos com os objectos cénicos, em _chãocéu| as palavras são já ressonâncias nos próprios corpos-objectos que, com a sua nudez, tentam formar uma outra linguagem nos entalhes de um metal aparentemente imaterial. Em baixo, observamos a agitação das criaturas, o ritmo alucinante, as coisas que, com a sua velocidade multicolorida, chocam umas nas outras, produzindo ruídos que são eles próprios substância, obstáculo. O mundo continua a espantar, e a assustar, mas agora queremos escutá-lo a partir de uma interioridade que, desacreditada, talvez já não passe pelo humano. Em O Susto dizia-se: “O chão está quieto à minha espera desde que sou gente”. Talvez agora já não seja gente que espera tocar o chão, nem o chão esteja já quieto. Porventura é o céu que quer agora chão, e talvez seja o único a conseguir essa coexistência de opostos, já que nós cá em baixo não a temos conseguido. _groundsky| (2024) There is a lot of material that emerged in the process of creating the piece The Fright is a Whole World (2021) that remained to be explored and deepened, loose ends that weren't grasped for lack of time or because they didn't find their place in the work. Since 2023, Vera Mantero has begun a process of creating ‘micro-pieces’ based precisely on the exploration and deepening of these same materials, together with performers and collaborators present in that same The Fright, first with Teresa Silva and Santiago Tricot in A small composition exercise (2023) and now with Henrique Furtado and João Bento in _groundsky|. In the first of these micro-pieces, one of the elements present in the scenography of The Fright was replicated, an iron ring about 2 metres in diameter, and the two rings, together with the two performers, became the central protagonists of this austere and practically silent ‘... small exercise’ of synchrony in time and geometry in space. In _groundsky|, another scenographic element from The Fright, but less used in this one, was chosen and also multiplied here, now by three: a ladder. In The Fright, the ladder was used because, symbolically speaking, they wanted to ‘touch the feet of the gods’. In _groundsky| we tried to see what that would actually be like, what it would be like to touch the feet of the gods and hold up the sky, which is falling, as we all know. And so the three bodies now levitate upwards, forcing us to lift our gaze. The action lifts off the ground, the world becomes small below. Three bird-angels wander over our heads, leaving us wondering if they will come down and help us understand the turmoil of the shallow plane. Mythical and fantastic figures appear (goddesses and gods, gargoyles, warriors...), intermediaries between above and below, performing actions-tasks-dances-sounds, in a sequence of unusual relationships between opposites. Again the astonishment, the dream, always the fright - and a material search for the unconscious. If in The Fright the words spoken seemed to materialise in games with the scenic objects, in _groundsky| the words are already resonances in the object-bodies themselves which, with their nakedness, try to form another language in the carvings of an apparently immaterial metal. Below, we can see the agitation of the creatures, the hallucinatory rhythm, the things that, with their multicoloured speed, crash into each other, producing noises that are themselves substance, an obstacle. The world continues to amaze and frighten, but now we want to listen to it from an interiority that, discredited, perhaps no longer passes through the human. In The Fright someone said: ‘The ground has been quietly waiting for me since I was a person’. Perhaps now it's no longer people who are waiting to touch the ground, nor is the ground already still. Perhaps it's the sky that wants the ground, and perhaps it's the only one that can achieve this coexistence of opposites, since we haven't been able to achieve it. Oficina "Os objectos de _chãocéu|"Nesta oficina, os criadores e performers de _chãocéu| partilham com os participantes as histórias, ideias e reflexões sobre alguns objectos que integram a peça. Seja recorrendo aos escadotes, às bolas saltitonas, ao papel comestível ou aos sinos de metal, revelam mais sobre a incorporação de cada objecto nesta criação, procurando despertar o interesse dos participantes ainda antes da apresentação da performance. Os participantes têm a oportunidade de experimentar, eles próprios, situações e experiências performativas em torno destes objectos. Duração: 2 horas. Workshop “The objects of _groundsky|” In this workshop, the creators and performers of _groundsky| share with participants stories, ideas and reflections on some of the objects that make up the piece. Whether using ladders, bouncing balls, edible paper or metal bells, they reveal more about the incorporation of each object in this creation, seeking to arouse the interest of participants even before the performance is presented. Participants have the opportunity to experience, for themselves, situations and performative experiences around these objects. Duration: 2 hours Creation and interpretation Vera Mantero, Henrique Furtado Vieira and João Bento&nbsp;Light design Co-creation by Hugo Coelho and Miguel Cruz Sound design and music João Bento Sound operation&nbsp; Rodrigo Martins Texts Excerpts from ‘Death and Democracy’, ed. Relógio d'Água (2023), by José Gil &nbsp; Production O Rumo do Fumo Executive Production and Distribution João Albano / O Rumo do Fumo Coproduction Teatro José Lúcio da Silva, La Caldera Barcelona Artistic Residencies Centro Musibéria, DeVIR CAPa, La Caldera Barcelona Press Podcast Festival Pedra Dura | Podemos tratar-nos por tu? with Tiago Mansilha Bom dia Portugal, RTP Vera Mantero sobe ao escadote para segurar o céu Gonçalo Frota, Jornal Público Teaser © Mário Negrão <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/6210e39845290a3c1de52217f5486bef5242462d046d3df0323adda4def0a888/_DSF5687.jpg" data-mid="241753115" border="0" src="https://freight.cargo.site/w/1000/i/6210e39845290a3c1de52217f5486bef5242462d046d3df0323adda4def0a888/_DSF5687.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/1195f40a7e50ab84e74ebe9196da73c50ece3bf596ec35f6261a70332881d2e9/_DSF5669.jpg" data-mid="241753116" border="0" src="https://freight.cargo.site/w/1000/i/1195f40a7e50ab84e74ebe9196da73c50ece3bf596ec35f6261a70332881d2e9/_DSF5669.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/f7fd1192308168b97432238c6420702b1358bcb226feb872a2de5a8759a24a1b/_DSF5832.jpg" data-mid="241753109" border="0" src="https://freight.cargo.site/w/1000/i/f7fd1192308168b97432238c6420702b1358bcb226feb872a2de5a8759a24a1b/_DSF5832.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/32cba0461c8f0794107754b6ca145f092e0e2d3769faeecd1a1ed6f453e28612/_DSF5815.jpg" data-mid="241753110" border="0" src="https://freight.cargo.site/w/1000/i/32cba0461c8f0794107754b6ca145f092e0e2d3769faeecd1a1ed6f453e28612/_DSF5815.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/d5e12185e8cdcd893e6ca7ce3726332f54f726c4503c966fc5fcd49c5c44e15e/_DSF5805.jpg" data-mid="241753111" border="0" src="https://freight.cargo.site/w/1000/i/d5e12185e8cdcd893e6ca7ce3726332f54f726c4503c966fc5fcd49c5c44e15e/_DSF5805.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/89fd1f39c4665a86c3fe1767738c28034286dc5ec3ec920e834fc54390a4a5ae/_DSF5798.jpg" data-mid="241753112" border="0" src="https://freight.cargo.site/w/1000/i/89fd1f39c4665a86c3fe1767738c28034286dc5ec3ec920e834fc54390a4a5ae/_DSF5798.jpg" /> <img width="3543" height="2391" width_o="3543" height_o="2391" data-src="https://freight.cargo.site/t/original/i/b7e6d59635f58de5dfa0a1a4dcdf7bee7d09d0e6df7522231514f5ae45b6ee2d/_DSF5790.jpg" data-mid="241753108" border="0" src="https://freight.cargo.site/w/1000/i/b7e6d59635f58de5dfa0a1a4dcdf7bee7d09d0e6df7522231514f5ae45b6ee2d/_DSF5790.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/86f264910b0e763d07f8cdaac7d060c368d1b25dd155b8841cb46c2535d75af4/_DSF5765.jpg" data-mid="241753113" border="0" src="https://freight.cargo.site/w/1000/i/86f264910b0e763d07f8cdaac7d060c368d1b25dd155b8841cb46c2535d75af4/_DSF5765.jpg" /> <img width="3543" height="2657" width_o="3543" height_o="2657" data-src="https://freight.cargo.site/t/original/i/05c64cf8baf77cc9ea9047b4fabb5919e61a69cac33496a69cd64d061b09097b/_DSF5722.jpg" data-mid="241753114" border="0" src="https://freight.cargo.site/w/1000/i/05c64cf8baf77cc9ea9047b4fabb5919e61a69cac33496a69cd64d061b09097b/_DSF5722.jpg" /> © Luís da Cruz Support &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="230" height="81" width_o="230" height_o="81" data-src="https://freight.cargo.site/t/original/i/4c6486c8723d60438b74a02daee023f944012ef17352ff9a4555675e2f91a27d/imagejoseluciodasilva.png" data-mid="241727236" border="0" data-scale="27" src="https://freight.cargo.site/w/230/i/4c6486c8723d60438b74a02daee023f944012ef17352ff9a4555675e2f91a27d/imagejoseluciodasilva.png" /><img width="254" height="198" width_o="254" height_o="198" data-src="https://freight.cargo.site/t/original/i/573f4c7da001667b4388c8d418f38c3e837e8172e8ab200033c37a1283774cd1/imagelacaldera.png" data-mid="241727239" border="0" data-scale="18" src="https://freight.cargo.site/w/254/i/573f4c7da001667b4388c8d418f38c3e837e8172e8ab200033c37a1283774cd1/imagelacaldera.png" /><img width="400" height="198" width_o="400" height_o="198" data-src="https://freight.cargo.site/t/original/i/dd0040a1d088e4bab931729075b3c0706cd0f209ab5a0ff371bb2023fd43a839/Digital_PT_4C_V_FC_Cultura-1.jpg" data-mid="241727232" border="0" data-scale="21" src="https://freight.cargo.site/w/400/i/dd0040a1d088e4bab931729075b3c0706cd0f209ab5a0ff371bb2023fd43a839/Digital_PT_4C_V_FC_Cultura-1.jpg" /><img width="600" height="167" width_o="600" height_o="167" data-src="https://freight.cargo.site/t/original/i/7006b8b6121e7da930e3cab15542577f3bc901cb4bc981434dd2cdd2ea2a07f2/dgartes_horizontal-cmyk-1.png" data-mid="241727234" border="0" data-scale="37" src="https://freight.cargo.site/w/600/i/7006b8b6121e7da930e3cab15542577f3bc901cb4bc981434dd2cdd2ea2a07f2/dgartes_horizontal-cmyk-1.png" /> &nbsp; &nbsp; https://henriquefurtado.cargo.site/Dialogos Mon, 29 Nov 2021 14:44:54 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/Dialogos Diálogos ︎ orumodofumo.com « Isto de facto basta estarmos juntos para acontecer qualquer coisa... » <img width="1755" height="778" width_o="1755" height_o="778" data-src="https://freight.cargo.site/t/original/i/60451b30f0bbcae5ddce834cc16fe0ff8a8efce51eeaf2a4e5192b0f556011a9/mapDialogos.jpg" data-mid="126035984" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/60451b30f0bbcae5ddce834cc16fe0ff8a8efce51eeaf2a4e5192b0f556011a9/mapDialogos.jpg" /> Diálogos (2021)Este espetáculo é uma espécie de organismo vivo que possui os intérpretes. Em aparência e no seu discurso verbal, os intérpretes fazem um passeio por Lisboa num dia. Vão tendo conversas banais e partilhando memórias, com as quais vão criando uma arqueologia daquilo que são uns para os outros. Mas paralelamente à (ou por dentro da) «conversa de chacha», os corpos projetam um espaço imaginário coletivo onde cada zona do corpo é potencial ponto de acoplagem, de criação de interstícios, de espaços visíveis ou invisíveis, sugerindo acontecimentos exteriores a esses corpos, ou até criando um terceiro corpo: um corpo de corpos. Com a ignição dos corpos, a palavra abre-se à imprevisibilidade. Por um lado torna-se vulnerável ao estado de não correspondência com os gestos, compondo-se um certo desajuste, um desalinhamento incongruente. Por outro lado, a presença da ação sobre a palavra pode revelar, paradoxalmente, não uma divisão ou um corte, mas uma relação simbiótica entre o movimento e o discurso. No encontro com o corpo em movimento, as palavras podem até tornar percetível o impercetível, permitem-nos sermos capazes de ver mentalmente coisas à nossa frente, de conjeturar e de criar novos significados. A ação do corpo encontra múltiplas formas de organização que põem em vibração a «conversa de chacha», dando assim visibilidade à dimensão sociológica, mas sobretudo existencial, absurda, trágico-cómica, do desempenho performativo que sustentamos na vida de todos os dias, no nosso quotidiano mais trivial. O corpo abre rachas nas palavras e mergulhamos nos abismos, nas fúrias, nos monstros, nos silêncios, nos buracos negros, nas utopias e nas distopias que palpitam dentro destes diálogos que nos parecem querer dizer «está tudo bem». Dialogues (2021) This show is a kind of living organism that possesses the performers. In appearance and in their verbal speech, they take a one-day tour in Lisbon, keeping up trivial conversations and sharing memories. At the same time, bodies project a collective imaginary space where each part of the body is a potential point of coupling, creating interstices, visible or invisible spaces, suggesting unreal events outside these bodies, or even creating a third body: a body of bodies. By the ignition of bodies, words open up to unpredictability. On the one hand, they become vulnerable to the state of non-correspondence with gestures, composing a certain maladjustment, an incongruous misalignment. On the other hand, the presence of action on the words can reveal, paradoxically, not a division or a cut, but a symbiotic relationship between movement and discourse. From this encounter with the moving body, words can even make the imperceptible noticeable, allowing us to be able to mentally see things in front of us, to conjecture and create new meanings. The action of the body finds multiple forms of organization that vibrate the trivial conversations, thus giving visibility to the sociological, but above all existential, absurd, tragic-comic dimension of the performative roles we sustain in our everyday social life. The body opens cracks in words and we plunge into the abysses, furies, monsters, silences, black holes, utopias and dystopias that throb within these dialogues that seem to tell us “everything is ok”. Artistic conception and direction Henrique Furtado Vieira Performance and co-creation Catarina Vieira, Leonor Mendes, Sérgio Diogo Matias Light design, technical direction and scenic space Hugo Coelho – Aldeia da Luz Sound design João Bento Costumes Rita Álvares Pereira Costume assistant Ana Sofia Vicente Scenography execution Rita Pico Dramaturgical outside eye Joclécio Azevedo Coordination and production Cátia Mateus Administration Vítor Alves Brotas | Agência 25 Coproduction CCB – Centro Cultural de Belém Coproduction residency Espaço do Tempo Residencies and support Forum Dança, O Rumo do Fumo, Pro.dança, Câmara Municipal de Lisboa / Polo Cultural Gaivotas | Boavista Thanks to Maria Antónia Matias, Marta Ramos, Marta Vieira, Miguel Pereira, Sofia Dias, Tânia Guerreiro, Tiago Barbosa, Tomás Mendes, Vera Mantero, Vítor Roriz Project financed by República Portuguesa - Cultura | Direcção-Geral das Artes Project co-financed by Garantir Cultura, Compete 2020, Portugal 2020 e União Europeia através do Fundo Europeu de Desenvolvimento Regional – FEDER Auto-entrevista (2021) Esta peça não tem início nem fim. Uma pessoa dialoga. Três pessoas dialogam. Infinitas entidades dialogam. Que forma deste a estes diálogos? Um paraquedas colorido. Consideras-te uma forma ou um evento? Sinto que tenho uma forma, mas esta está em constante mutação desde que fui concebido. O evento da minha vida é a vida da minha forma. Com que forma nasceste? Todos nascemos esferas. Mas depois os nossos contornos vão se tornando cada vez mais angulares. Alguns, os mais quadrados, tornam-se cúbicos. Um cubo é uma esfera militar. Porque é que as coisas têm contornos? Porque as coisas são aglomerados de matéria que ao atingirem o seu limite gravitacional de aglomeração ganham "contornos". Então sem gravidade, não haveria contornos? Não, porque não haveria olhos. Porque é que os palhaços não têm pais? Porque são demasiados os Eus dentro dum só palhaço. Quem é que dentro de mim me decide dançar? O que está fora da tua perceção. Quem é que fora de mim me decide dançar? O Big Bang, o Sagrado, a escuridão, os eclipses e a quarta dimensão. Como chegar à quarta dimensão? Provavelmente com uma corpovisão do universo. Um erotismo cósmico. Não sou lá muito erótico… experimenta mergulhar noutras escalas. No que está fora do teu alcance. Alcance de quem? Do ser humano… do artista… Mas principalmente do espetador. Gostas de adivinhas? Muito. Mesmo quando não encontras respostas? Sobretudo quando não encontro respostas. Porquê? Sou um ilusionista do gesto. Um mágico? Mais ou menos. Um mágico sem acessórios. E ainda assim sacas coelhos da cartola? Coelhos metafóricos, sim. E além dos coelhos? O gesto. O corpo. O fumo. [suspensão] Se pensarmos no espaço como sólido, os corpos são como vazios nesse espaço. Quem é que disse isso?&nbsp;Eu. E o Tony Smith. E muitas outras pessoas que também dialogaram com o Tony Smith. Comigo, queres tu dizer.&nbsp;Sim, contigo, Tony Smith. Como te chamas tu? Tony Smith. Porque andas em círculos? Porque os palhaços vivem num círculo. O que é uma ideia? É um preconceito. O que é uma ideia? É um preconceito. O que é uma ideia? Um contorno provisório. O que é uma ideia? Um lugar onde o tempo está suspenso e em expansão. Como o Big Bang. E esta peça, é sobre o quê? Sobre ti. Sobre mim. Sobre adiar o fim do mundo.Self interview (2021) This piece has no beginning and no end. One person dialogues. Three people dialogue. Endless entities dialogue. What form did you give to these dialogues? A colorful parachute. Do you consider yourself a form or an event? I feel I have a form, but this form is constantly changing since I was conceived. The event of my life is the life of my form. What form were you born with? We are all born spheres. But then our outlines become more and more angular. Some, the squarest, become cubic. A cube is a military sphere. Why do things have outlines? Because things are agglomerations of matter that upon reaching their gravitational limit of agglomeration gain "outlines". So, without gravity there would be no outlines? There wouldn’t, because there would be no eyes. Why is it that clowns have no parents? Because there are too many selves inside one clown. Who inside me decides to dance? What is outside of your perception. Who outside me decides to dance? The Big Bang, the Sacred, darkness, eclipses, and the fourth dimension. How does one reach the fourth dimension? Probably through a body-vision of the Universe. A cosmic eroticism. I'm not very erotic... try diving into other scales. Into what is out of reach. Whose reach? Of the human being... of the artist... but mainly of the spectator. Do you like riddles? Very much. Even when you can't find the answers? Especially when I can't find the answers. Why is that? I'm an illusionist of gesture. A magician?&nbsp;Something like that. A magician without accessories. Even so, do you pull rabbits out of your hat? Metaphorical rabbits, yes. And besides rabbits? Gestures. The body. The smoke. [suspension] If we think of space as something solid, then bodies become like voids in that space. Who said that? I did. And Tony Smith. And many other people who also dialogued with Tony Smith. With me, you mean. Yes, with you, Tony Smith. What is your name? Tony Smith. Why are you going around in circles? Because clowns live in a circle. What is an idea? A preconception. What is an idea? A preconception. What is an idea? A temporary outline. What is an idea? A place where time is suspended and expanding. Like the Big Bang. And this piece, what is it about? About you. About me. About postponing the end of the world. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5455d488fefcd8206ca5dc7ea43de5e2450b85a32ce5f012228dce1b19868a73/48_DIALOGOS-ensaio_brunosimao_.jpg" data-mid="126040037" border="0" src="https://freight.cargo.site/w/1000/i/5455d488fefcd8206ca5dc7ea43de5e2450b85a32ce5f012228dce1b19868a73/48_DIALOGOS-ensaio_brunosimao_.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0bb8ed9cc78f90ac7fc8287c2b40a3d57ad028665db6d1cbcd43fabb70e27906/54_DIALOGOS-ensaio_brunosimao_.jpg" data-mid="126040040" border="0" src="https://freight.cargo.site/w/1000/i/0bb8ed9cc78f90ac7fc8287c2b40a3d57ad028665db6d1cbcd43fabb70e27906/54_DIALOGOS-ensaio_brunosimao_.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a62c6e72bec41705e626da7c12b5d84c4832724b29e186fedbe7e8606fe3639a/22_DIALOGOS-ensaio_brunosimao_.jpg" data-mid="126040035" border="0" src="https://freight.cargo.site/w/1000/i/a62c6e72bec41705e626da7c12b5d84c4832724b29e186fedbe7e8606fe3639a/22_DIALOGOS-ensaio_brunosimao_.jpg" /> © Bruno Simão Support &nbsp;<img width="832" height="456" width_o="832" height_o="456" data-src="https://freight.cargo.site/t/original/i/88ad728cb6eac413f94cb2d5241968edf3f199d795d6b18c1bf9c7f9bbe7d40d/CCB.png" data-mid="126039769" border="0" data-scale="25" src="https://freight.cargo.site/w/832/i/88ad728cb6eac413f94cb2d5241968edf3f199d795d6b18c1bf9c7f9bbe7d40d/CCB.png" />&nbsp; &nbsp; &nbsp;&nbsp;<img width="2616" height="1741" width_o="2616" height_o="1741" data-src="https://freight.cargo.site/t/original/i/5428bf6691e9b21d53b77d383adb3664c2442fd84b02dd61d9c52319b19d51b7/ET-logo-fundo-transparente.png" data-mid="126039652" border="0" data-scale="22" src="https://freight.cargo.site/w/1000/i/5428bf6691e9b21d53b77d383adb3664c2442fd84b02dd61d9c52319b19d51b7/ET-logo-fundo-transparente.png" /> <img width="535" height="265" width_o="535" height_o="265" data-src="https://freight.cargo.site/t/original/i/a547a4d9a50eccefb821b01717839da1d90b46d12f9617c3fb954ae50d3a930e/Digital_PT_4C_V_FC_Cultura.jpg" data-mid="126039650" border="0" data-scale="28" src="https://freight.cargo.site/w/535/i/a547a4d9a50eccefb821b01717839da1d90b46d12f9617c3fb954ae50d3a930e/Digital_PT_4C_V_FC_Cultura.jpg" /><img width="2126" height="591" width_o="2126" height_o="591" data-src="https://freight.cargo.site/t/original/i/350e52ce8938d65e8e926a03e38a6863e726dd2ad8546decbe04198dcaf993a6/dgartes_horizontal-cmyk.png" data-mid="126039722" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/350e52ce8938d65e8e926a03e38a6863e726dd2ad8546decbe04198dcaf993a6/dgartes_horizontal-cmyk.png" /><img width="5483" height="842" width_o="5483" height_o="842" data-src="https://freight.cargo.site/t/original/i/f4723d30af130ec46c2d63a01967247b9be8699e318fe6a7052c86600ae5764d/Modelos-Barras-FUNDOS-v04_3logos-FEDER.png" data-mid="126039653" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/f4723d30af130ec46c2d63a01967247b9be8699e318fe6a7052c86600ae5764d/Modelos-Barras-FUNDOS-v04_3logos-FEDER.png" /> &nbsp; &nbsp; &nbsp;&nbsp; https://henriquefurtado.cargo.site/Stand-still-you-ever-moving-spheres-of-heaven Fri, 20 Jul 2018 09:00:57 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/Stand-still-you-ever-moving-spheres-of-heaven Stand still you ever-moving spheres of heaven collaboration with Chiara Taviani︎ orumodofumo.com C- Guay zoo, peel me a pain about the zyrgum. H- Guay, wet to you tont to go? C- Well, has his liquid woofy dead, bright? H- It’s liquid put it ain’t hand-read percent mictic, I mean, you Truman can’t wook into a rest aura, rule appoint and start buffin’ wey wey. They vanna you to smoking your humor zyrgum designed dead places. C- Ant nose are the zyrgums? Stand still you ever-moving spheres of heaven (2018)Deux figures se parlent dans une langue qui n'appartient qu'à elles, dans un espace temps qui nous échappe. Elles mélangent et entrelacent des reliquats de paroles et des réminiscences d'anglais et font progresser leur conversation selon des modalités d'échange propres établies. On reconnait des attitudes, des mots, des intonations, mais la lecture en est en permanence brouillée. Elles se servent de leurs mains pour se connecter, pour dialoguer, pour créer du sens. Ce sont des mains-objets, des mains-masques, des mains-prothèses qui éveillent et sculptent l’imagination sur leur passage. La langueur et la délicatesse de cette gestuelle pantomimique encouragent l’apparition du fantastique. &nbsp;Dans un élan dadaïste, Stand still you ever-moving spheres of heaven déroule un long linoléum blanc, microcosme minimaliste de l'imagination en mouvement. Poème visuel et sonore chargé de jaillissements surréalistes, la pièce met en jeu les possibilités de l’imagination. Stand still you ever-moving spheres of heaven (2018)Duas figuras falam numa língua que lhes pertence apenas a elas, num espaço-tempo que nos escapa. Misturam e mesclam destroços de palavras e reminiscências da língua inglesa, superando o seu significado mas sublimando a musicalidade dos fonemas utilizados. Reconhecemos atitudes, palavras, entoações, mas a leitura é constantemente perturbada. Usam as mãos para se conectar, dialogar, criar significados: são mãos-objetos, mãos-máscaras, mãos-próteses que despertam e esculpem a imaginação no seu caminho. A languidez e a delicadeza desta gestualidade pantomímica instigam a aparição do fantástico. Num impulso dadaísta, Stand still you ever-moving spheres of heaven desenrola um longo linóleo branco, microcosmo minimalista da imaginação em movimento. Poema visual e sonoro com erupções surrealistas, a peça coloca em jogo as possibilidades da imaginação. Stand still you ever-moving spheres of heaven (2018) Inspired by Dadaists, Stand still you ever-moving spheres of heaven unrolls a long white linoleum. On it, two figures speak in a language that belongs only to them, in a space-time that eludes us. They mix and interweave remnants of words and reminiscences of English and move forward in their conversation according to established terms of dialogue. We recognize attitudes, words, intonations, but the understanding is constantly blurred. In this minimalist microcosm of fantasy in motion, they use their hands to connect, to dialogue, to create meaning: their hands become hand-objects, hand-masks, hand-prostheses. The languor and the delicacy of this pantomimic gesture encourage the appearance of the fantastic. Charged with surreal spurts, Chiara Taviani and Henrique Furtado’s duet awakens the imagination. Stand still you ever-moving spheres of heaven (2018)Due creature si parlano e ci parlano reiventando e piegando ad un senso intimo la lingua Anglosassone. Puntando sulla musicalità e concentrandosi sulla ritmica, la dizione e la pronuncia riscrivono un testo dallo slancio dadaista enfatizzandone la stravaganza e il rifiuto della logica. I due usano le loro mani per connettersi, per dialogare, per suggerire paesaggi o stati; le mani diventano degli oggetti, delle maschere, delle protesi che scolpiscono figure immaginifiche. La delicatezza di questa gestualità pantomimica suggerisce l’apparizione del fantastico. Stand still ever-moving spheres of heaven ha come sola scenografia una striscia di linoleum bianco; un luogo astratto aperto alla manipolazione immaginativa degli interpreti e del loro pubblico. Conception, interpretation, costumes and make-up Chiara Taviani and Henrique Furtado P. Vieira Lighting design&nbsp;Eduardo Abdala (sometimes replaced by Manuel Abrantes during touring) Dramaturgical support&nbsp;Céline Cartillier, Antonio Ianniello Odissi dance transmission Livia Porzio Vocal support&nbsp;Francisco Brazão Textual support&nbsp;Miguel Loureiro Administration and production&nbsp;Vera Nunes, Aline Berthou and UOT Organizzazione Teatrale With the kind participation of Vera Mantero Coproductions&nbsp;Espaço do Tempo (PT), ACASA Scenario Pubblico (IT), Teatro Municipal do Porto (PT), Temps d’Images / DuplaCena (PT), Periferie Artistiche - Centro di Residenza Multidisciplinare della Regione Lazio / Twain (IT) &nbsp;/// Support Fundação GDA (PT), Apoio à Internacionalização: Fundação Calouste Gulbenkian (PT) /// Residency support Estúdios Victor Cordón (PT), Devir Capa (PT), Companhia Olga Roriz (PT), EKA Palace (PT), KLAP (FR), La Liseuse (FR), Entrepont (FR), MAD (MC)&nbsp;/// Thanks to&nbsp;Montaine Chevalier, Blanca Tolsá Rovira, Camilla Montesi, Luís Rosário, Inês Cartaxo, Hugo Coelho, Pia Krämer, Emma Terno, Emmanuel Tussore /// Press review Roma Europa Interview - IT Intransito 2019/ Da un punto di vista drammaturgico - ITIntransito 2019/ D’un point de vue dramaturgique - FR Intransito 2019/ Dum ponto de vista dramatúrgico - PT <img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/7fd8012c0812478d7a5ddf10111cf9d43dcc73c2eec2c176678376b92b79e017/STAND-STILL-YOU7Piero_Tauro.jpg" data-mid="54709611" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/7fd8012c0812478d7a5ddf10111cf9d43dcc73c2eec2c176678376b92b79e017/STAND-STILL-YOU7Piero_Tauro.jpg" /> <img width="5315" height="3543" width_o="5315" height_o="3543" data-src="https://freight.cargo.site/t/original/i/c956deb1dfa01dceb291c7cda9dfd0b76c8638fc3cd3523b1ed0a8e7293e7706/STAND-STILL-YOU2Piero_Tauro.jpg" data-mid="54709610" border="0" data-scale="100" 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data-src="https://freight.cargo.site/t/original/i/fec620cd563a642d27da3162cd248b6833ec9d38ae1121af2daf2b8491d4ea54/_SER0960.jpg" data-mid="20746650" border="0" src="https://freight.cargo.site/w/1000/i/fec620cd563a642d27da3162cd248b6833ec9d38ae1121af2daf2b8491d4ea54/_SER0960.jpg" /> © Piero Tauro and © Serena Nicoletti Support <img width="1960" height="495" width_o="1960" height_o="495" data-src="https://freight.cargo.site/t/original/i/477f2f413bb612fb3ff74ab081440672851f9f569f17d23ffd16300a27724186/FCG_01_FundacaoCalousteGulbenkian_PRT_04.jpg" data-mid="27478583" border="0" data-scale="34" src="https://freight.cargo.site/w/1000/i/477f2f413bb612fb3ff74ab081440672851f9f569f17d23ffd16300a27724186/FCG_01_FundacaoCalousteGulbenkian_PRT_04.jpg" /><img width="4574" height="3861" width_o="4574" height_o="3861" data-src="https://freight.cargo.site/t/original/i/a71cb5194d7b0a6291d8b0d10fd8d65b3af25971cb2faa6fa67e6b2f180067cc/FUNDACAO_GDA_LOGO_CMYK-A-POS.png" data-mid="24863693" border="0" 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data-src="https://freight.cargo.site/t/original/i/3c36a41b405bfac8047aab3e54de50c9032a10d773c7f18b60d5c4b5d36175a6/espao.jpg" data-mid="24032189" border="0" data-scale="18" src="https://freight.cargo.site/w/914/i/3c36a41b405bfac8047aab3e54de50c9032a10d773c7f18b60d5c4b5d36175a6/espao.jpg" />&nbsp;<img width="2192" height="1743" width_o="2192" height_o="1743" data-src="https://freight.cargo.site/t/original/i/6ede48b6fce05810fb5d5c86183bf38d3d03b41ce4746117bf89ed818cbab170/logo_TDI_LISBOA.png" data-mid="24032020" border="0" data-scale="11" src="https://freight.cargo.site/w/1000/i/6ede48b6fce05810fb5d5c86183bf38d3d03b41ce4746117bf89ed818cbab170/logo_TDI_LISBOA.png" /> &nbsp;<img width="1549" height="735" width_o="1549" height_o="735" data-src="https://freight.cargo.site/t/original/i/31252fab0cc8522b078d717819436ca64420de14eb3e45507f15251795eed593/LOGO-fundo-branco.png" data-mid="24032019" border="0" data-scale="15" src="https://freight.cargo.site/w/1000/i/31252fab0cc8522b078d717819436ca64420de14eb3e45507f15251795eed593/LOGO-fundo-branco.png" /> &nbsp;<img width="500" height="108" width_o="500" height_o="108" data-src="https://freight.cargo.site/t/original/i/f7bf24e3f37daf9c3256dff01fd313ca6b48d571dbd5d9a5e901e963569c2afb/logo_tmp_animado.png" data-mid="54710196" border="0" data-scale="38" src="https://freight.cargo.site/w/500/i/f7bf24e3f37daf9c3256dff01fd313ca6b48d571dbd5d9a5e901e963569c2afb/logo_tmp_animado.png" /> &nbsp; https://henriquefurtado.cargo.site/Bibi-Ha-Bibi Fri, 20 Jul 2018 09:00:56 +0000 Henrique Furtado Vieira https://henriquefurtado.cargo.site/Bibi-Ha-Bibi Bibi Ha Bibicollaboration with Aloun Marchal︎ bibihabibi.com Bibi Ha Bibi (2017) Wearing skin-tight playsuits, Aloun Marchal and Henrique Furtado weigh each other up, stare at each other, stand firm in the middle of the stage and let out a cry from deep inside : the challenge is laid down. Face to face, close to each other, conniving and provoking at the same time, they are getting ready. They explore a wide range of sounds and movements with clashing styles, from sports fighting to teasing childish games, from rumbling noises to lullabies, from straightforward breathing to bestial yelling. Progressive mechanisms drive the performers even further into their exercise, moving disjointedly and opening their throats more and more. The pas de deux glides from controlled violence to sensuality, which are both disturbingly based on listening, mimicry and exchange of movements. Progressively, voices and faces, laughing and cruel, get tangled, mixed up and rival each other. Henrique Furtado and Aloun Marchal are ready, at last… Bibi Ha Bibi (2017) En combi-short moulant, Aloun Marchal et Henrique Furtado se toisent, s’affrontent du regard, se campent au centre du plateau et poussent un cri du ventre : le challenge est lancé. Face à face, dans une proximité à la fois complice et provocatrice, ils se préparent. Ils explorent toute une palette de sons et de mouvements aux registres détonants, de la lutte aux jeux d’enfants les plus taquins, des borborygmes aux chansons douces, de la simple expiration au cri bestial. Des mécanismes évolutifs emmènent les performers toujours plus loin dans leur exercice, laissant les corps se désarticuler et les gorges se déployer.&nbsp;Le pas de deux glisse de la violence réglementée au plaisir de la sensualité, qui reposent tous deux (et c’est le plus troublant) sur l’écoute, le mimétisme et l’échange des mouvements.&nbsp;Au rythme de ces répétitions, les voix et les visages, rieurs et cruels, s’enchevêtrent, s’acoquinent et rivalisent. Henrique Furtado et Aloun Marchal sont enfin prêts… Bibi Ha Bibi (2017) De bodysuit apertado, Aloun Marchal e Henrique Furtado medem-se dos pés à cabeça, enfrentam o olhar, acampam no centro do palco e lançam um grito do fundo das tripas: o desafio está lançado. Face a face, numa proximidade simultaneamente cúmplice e provocadora, eles preparam-se. Exploram uma gama de sons e movimentos com registros detonantes, da luta aos jogos infantis mais impertinentes, dos borborigmos às canções mais doces, da simples expiração ao grito bestial. Mecanismos evolutivos levam os performers a irem cada vez mais longe nas suas práticas, deslocando os corpos e manifestando as gargantas. O pas de deux desliza da violência regulada ao prazer da sensualidade, que são ambos baseados (e isto é o mais perturbante) na escuta, na imitação e na troca de movimentos. Ao ritmo destas repetições, as vozes e os rostos, risonhos e cruéis, emaranham-se, equipam-se e competem. Henrique Furtado e Aloun Marchal estão finalmente prontos… - Conception and interpretation Henrique Furtado and Aloun Marchal Costumes Camille Rosa in collaboration with Rozenn Lamand Dramaturgy Céline Cartillier Musical collaboration Jerzy Bielski Light design Eduardo Abdala (sometimes replaced by Manuel Abrantes) Transmission of inuit songs Marie-Pascale Dubé Transmission of belly dance Estela Ferreira Transmission of wrestling Bruno ‘Bammer’ Brito Production Possibilitas (SE), Siège (FR) Coproductions La Place de la Danse CDCN Toulouse / Occitanie (Toulouse/FR) within “[dna] departures and arrivals”, co-financed by europe creative program of the european union, Göteborgs dans &amp; teater Festival (Göteborg/SE), Atalante (SE) Residencies Alkantara (PT), EKA Palace (PT), TPE de Bezons (FR), Théâtre Louis Aragon (FR), Ménagerie de Verre (FR), Vitlycke – centre of Performing arts (SE), La Briqueterie CDC du Val-de-Marne (FR) Supports Västra Götalandsregionen (SE), Göteborgs stad Kultur (SE), Fundação Calouste Gulbenkian (PT), Fundação GDA (PT), Spedidam (FR), Writing support with Sacd Beaumarchais (FR), Production support with Sacd (FR), Drac ile-de-France (FR) Press review Göteborgs Posten – SE Göteborgs Posten – EN Departures and Arrivals [DNA] – EN Revue Mouvement – FR Revue Mouvement – EN Le Clou de La Planche – FR Le Clou de La Planche – EN A Revista do Expresso - PT Radio review Fila J - TSF Rádio Notícias, com José Carlos Barreto - PT <img width="1572" height="2114" width_o="1572" height_o="2114" data-src="https://freight.cargo.site/t/original/i/0a1b0a40167399b525ef730e49e44a6ed114bdef9ac7a21269d65c23c06f81ee/DSC_8175-1.jpg" data-mid="20746135" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/0a1b0a40167399b525ef730e49e44a6ed114bdef9ac7a21269d65c23c06f81ee/DSC_8175-1.jpg" /> © Philippe Lebruman <img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/592c479217db1ac684af61e133327227d2ae1dec501e58742ba0a43816db191e/DSC_7908j.jpg" data-mid="20745870" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/592c479217db1ac684af61e133327227d2ae1dec501e58742ba0a43816db191e/DSC_7908j.jpg" /> © Philippe Lebruman <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/1d9b272e8e04f9d8745053b6251982aacc9e3ec251333b460edfb59862f6a816/_87A4000cALIPIOPADILHA.jpg" data-mid="20745667" border="0" data-scale="61" src="https://freight.cargo.site/w/960/i/1d9b272e8e04f9d8745053b6251982aacc9e3ec251333b460edfb59862f6a816/_87A4000cALIPIOPADILHA.jpg" /> © Alípio Padilha <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/ad83e37512d56da950aee26d76625879259a885b390074c9328a450e679b2180/_87A4449cALIPIOPADILHA.jpg" data-mid="20745668" border="0" data-scale="54" src="https://freight.cargo.site/w/960/i/ad83e37512d56da950aee26d76625879259a885b390074c9328a450e679b2180/_87A4449cALIPIOPADILHA.jpg" /> © Alípio Padilha Support <img width="1960" height="495" width_o="1960" height_o="495" data-src="https://freight.cargo.site/t/original/i/00f01d7c201a1d35fbf71321dd58d8f7af8a734f35cf0f2335c3709358feffa9/FCG_01_CalousteGulbenkianFoundation_BLK_04.jpg" data-mid="20896861" border="0" data-scale="24" src="https://freight.cargo.site/w/1000/i/00f01d7c201a1d35fbf71321dd58d8f7af8a734f35cf0f2335c3709358feffa9/FCG_01_CalousteGulbenkianFoundation_BLK_04.jpg" />&nbsp;<img width="4574" height="3861" width_o="4574" height_o="3861" data-src="https://freight.cargo.site/t/original/i/8e4963ea5fb996bad0afdba50993c87d61857b2ccfd586e3fd3f4b9b77275e7d/FUNDACAO_GDA_LOGO_CMYK-A-POS.png" data-mid="20897304" border="0" data-scale="7" src="https://freight.cargo.site/w/1000/i/8e4963ea5fb996bad0afdba50993c87d61857b2ccfd586e3fd3f4b9b77275e7d/FUNDACAO_GDA_LOGO_CMYK-A-POS.png" /> <img width="1127" height="1130" width_o="1127" height_o="1130" data-src="https://freight.cargo.site/t/original/i/29fd8c1f90343d78a5fdaaef214283a01e0637ddf00379ea23d95b14841f684d/Beaumarchais.jpg" data-mid="20896845" border="0" data-scale="7" src="https://freight.cargo.site/w/1000/i/29fd8c1f90343d78a5fdaaef214283a01e0637ddf00379ea23d95b14841f684d/Beaumarchais.jpg" />&nbsp; 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