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TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO Progressively, the building fell into disrepair. Finally, it was bought by the Portuguese State on October 8, 1992, and opened its doors to the public one month later, on November 28, now officially named Teatro Nacional São João. After a process of restoration, renovation and refurbishment, which took place from 1993 to 1995,under the
TURISMO INFINITO · SÃO JOÃO Ricardo Pais’ Pessoan ship will return to its home port on the TNSJ’s Centenary Day, having in the meantime visited such destinations as the Comédie de Reims, São Paulo’s Teatro Paulo Autran and Madrid’s Teatro Español, among other more or less exotic parts.A quintessential stage creation of the man who once directed our Theatre and defined its artistic personality, Turismo Infinito PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: HISTORY · SÃO JOÃO Theatre. P.CustomPages.sections.content. Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. Musical productions predominated during the institution’s first years. Its theatrical programme consisted inhousing
TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO Progressively, the building fell into disrepair. Finally, it was bought by the Portuguese State on October 8, 1992, and opened its doors to the public one month later, on November 28, now officially named Teatro Nacional São João. After a process of restoration, renovation and refurbishment, which took place from 1993 to 1995,under the
TURISMO INFINITO · SÃO JOÃO Ricardo Pais’ Pessoan ship will return to its home port on the TNSJ’s Centenary Day, having in the meantime visited such destinations as the Comédie de Reims, São Paulo’s Teatro Paulo Autran and Madrid’s Teatro Español, among other more or less exotic parts.A quintessential stage creation of the man who once directed our Theatre and defined its artistic personality, Turismo Infinito PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TURISMO INFINITO · SÃO JOÃO Ricardo Pais’ Pessoan ship will return to its home port on the TNSJ’s Centenary Day, having in the meantime visited such destinations as the Comédie de Reims, São Paulo’s Teatro Paulo Autran and Madrid’s Teatro Español, among other more or less exotic parts.A quintessential stage creation of the man who once directed our Theatre and defined its artistic personality, Turismo Infinito THEATRE: NETWORKS · SÃO JOÃO In November 2003, the Teatro Nacional São João joined this network, of which it is the only Portuguese member. Thus it found itself acknowledged, in the words of Gábor Zsámbéki, who replaced Strehler as president of the UTE, as “a Theatre whose structure is absolutely determined by an artistic project”. PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of LORENZACCIO · SÃO JOÃO Lorenzaccio · São João. Description. The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho. Out of historical records from 16th-century Florentine describing the overthrow of tyrannical duke Alessandro de’ Medici MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”. O BURGUÊS FIDALGO · SÃO JOÃO based upon Molière dramaturgy and direction Ricardo Alves visual direction Sandra Neves lighting design Cláudia Valente music Jean-Baptiste de Lully cast Ivo Bastos, Mafalda Canhola, Maria Teresa Barbosa, Patrícia Queirós, Rui Oliveira, Tiago Araújo co-produced by Teatro da Palmilha Dentada, Teatro Nacional São João playing time1:30 Ages 16 and up
TURMA DE 95 · SÃO JOÃO In Turma de 95 , a trivial class photograph from 25 years ago operates as a powerful time machine in dramaturgic terms.Appropriating Class of 76, by Alex Kelly, the founder of Third Angel, Raquel Castro revisits and examines her adolescence and that of her classmates by interweaving memories from the past with present-day reality. Using a number of interviews as a starting-pointU · SÃO JOÃO
U tells the epic journey of a very peculiar Ulysses, not the superhuman hero of Homer’s Odyssey but a huge polar bear. Taking as her starting-point Maria Alberta Menéres’ Ulisses, a children’s version of the Odyssey, stage director Joana Magalhães drew inspiration from that book’s opening line: “Who tells a tale, adds a detail.” Thus, going against the univocal slant of the tale THE TNSJ AND THE RTP PRESENT… · SÃO JOÃO As part of the commemorations of the Teatro São João’s Centenary, RTP2 will broadcast four video recordings of TNSJ productions. Thus the theatre made in our stages transcends its limits, belying its ephemeral condition. TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: HISTORY · SÃO JOÃO Theatre. P.CustomPages.sections.content. Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. Musical productions predominated during the institution’s first years. Its theatrical programme consisted inhousing
THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is CASTRO · SÃO JOÃO Castro · São João. Description. Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration andOLD.TNSJ.PT
Ill Ill Ill Il Il Ill . Created Date: 5/5/2017 11:37:15 AM TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: HISTORY · SÃO JOÃO Theatre. P.CustomPages.sections.content. Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. Musical productions predominated during the institution’s first years. Its theatrical programme consisted inhousing
THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is CASTRO · SÃO JOÃO Castro · São João. Description. Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration andOLD.TNSJ.PT
Ill Ill Ill Il Il Ill . Created Date: 5/5/2017 11:37:15 AM WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO Progressively, the building fell into disrepair. Finally, it was bought by the Portuguese State on October 8, 1992, and opened its doors to the public one month later, on November 28, now officially named Teatro Nacional São João. After a process of restoration, renovation and refurbishment, which took place from 1993 to 1995,under the
PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of LORENZACCIO · SÃO JOÃO The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel, preceded by António José da Silva’s Vida do Grande D. Quixote de La Mancha e do Gordo Sancho Pança and preceding Shakespeare’s The Merchant of Venice, is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho.Out of historical records from 16th-century Florentine LORENZACCIO · SÃO JOÃO Lorenzaccio · São João. Description. The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho. Out of historical records from 16th-century Florentine describing the overthrow of tyrannical duke Alessandro de’ Medici PLEASE PLEASE PLEASE · SÃO JOÃO What is ignited by a fuse woven out of a James Brown song, Kafka’s The Metamorphosis, Gustavia (2008), the burlesque duo of La Ribot and Mathilde Monnier, and the words of Tiago Rodrigues?The answer is Please please please (2019), a reflection on the normative power’s opposition to minority bodies and their resistance(s) to it. On stage, the two choreographer-dancers bring to life a CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”. CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”. MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and O BURGUÊS FIDALGO · SÃO JOÃO based upon Molière dramaturgy and direction Ricardo Alves visual direction Sandra Neves lighting design Cláudia Valente music Jean-Baptiste de Lully cast Ivo Bastos, Mafalda Canhola, Maria Teresa Barbosa, Patrícia Queirós, Rui Oliveira, Tiago Araújo co-produced by Teatro da Palmilha Dentada, Teatro Nacional São João playing time1:30 Ages 16 and up
TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. THEATRE: HISTORY · SÃO JOÃO Theatre. P.CustomPages.sections.content. Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. Musical productions predominated during the institution’s first years. Its theatrical programme consisted inhousing
WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO Progressively, the building fell into disrepair. Finally, it was bought by the Portuguese State on October 8, 1992, and opened its doors to the public one month later, on November 28, now officially named Teatro Nacional São João. After a process of restoration, renovation and refurbishment, which took place from 1993 to 1995,under the
PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. THEATRE: HISTORY · SÃO JOÃO Theatre. P.CustomPages.sections.content. Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. Musical productions predominated during the institution’s first years. Its theatrical programme consisted inhousing
WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO Progressively, the building fell into disrepair. Finally, it was bought by the Portuguese State on October 8, 1992, and opened its doors to the public one month later, on November 28, now officially named Teatro Nacional São João. After a process of restoration, renovation and refurbishment, which took place from 1993 to 1995,under the
PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: HISTORY · SÃO JOÃO Theatre. P.CustomPages.sections.content. Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. Musical productions predominated during the institution’s first years. Its theatrical programme consisted inhousing
THEATRE: NETWORKS · SÃO JOÃO In November 2003, the Teatro Nacional São João joined this network, of which it is the only Portuguese member. Thus it found itself acknowledged, in the words of Gábor Zsámbéki, who replaced Strehler as president of the UTE, as “a Theatre whose structure is absolutely determined by an artistic project”. LORENZACCIO · SÃO JOÃO Lorenzaccio · São João. Description. The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho. Out of historical records from 16th-century Florentine describing the overthrow of tyrannical duke Alessandro de’ Medici MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”.U · SÃO JOÃO
U tells the epic journey of a very peculiar Ulysses, not the superhuman hero of Homer’s Odyssey but a huge polar bear. Taking as her starting-point Maria Alberta Menéres’ Ulisses, a children’s version of the Odyssey, stage director Joana Magalhães drew inspiration from that book’s opening line: “Who tells a tale, adds a detail.” Thus, going against the univocal slant of the tale CASTRO · SÃO JOÃO Castro · São João. Description. Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of THE LINGERING NOW O AGORA QUE DEMORA: NOSSA ODISSEIA II Brazilian artist Christiane Jatahy, whose work simultaneously explores cinema and its mediation through the presence of bodies on the stage, returns to the subject of The Odyssey.After Ítaca (2018), she now travels to Palestine and Lebanon, but also to Greece, South Africa and the heart of the Amazon jungle, putting the words of Homer in the rugged bodies of refugees, migrants or indigenousOLD.TNSJ.PT
TN erentes nio a mera . Created Date: 5/29/2017 3:43:14 PM TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO From 1798 to 1992, from Real Teatro de São João to Teatro Nacional São João, how many theatres have occupied this building/monument? By initiative of Chief Magistrate Francisco de Almada e Mendonça and a group of private investors, who wanted the “Realm’s second city” to have a “fine school of manners and civility”, the Real Teatro de São João, thus named as an homage to the PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO From 1798 to 1992, from Real Teatro de São João to Teatro Nacional São João, how many theatres have occupied this building/monument? By initiative of Chief Magistrate Francisco de Almada e Mendonça and a group of private investors, who wanted the “Realm’s second city” to have a “fine school of manners and civility”, the Real Teatro de São João, thus named as an homage to the PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. LORENZACCIO · SÃO JOÃO The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho.Out of historical records from 16th-century Florentine describing the overthrow of tyrannical duke Alessandro de’ Medici, murdered by his cousin Lorenzo – insultingly nicknamed “Lorenzaccio” for frustrating the MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and THEATRE: NETWORKS · SÃO JOÃO UTE - Union of the Theatres of Europe. An organisation that congregates some of the most important European public theatres, the Union of the Theatres of Europe (UTE) was created in March 1990, with the political support of Jack Lang, who was then the French Minister of Culture, and inspired by the vision of a “Europe of the Arts” steadfastly championed by Giorgio Strehler, an Italian CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”.U · SÃO JOÃO
U tells the epic journey of a very peculiar Ulysses, not the superhuman hero of Homer’s Odyssey but a huge polar bear. Taking as her starting-point Maria Alberta Menéres’ Ulisses, a children’s version of the Odyssey, stage director Joana Magalhães drew inspiration from that book’s opening line: “Who tells a tale, adds a detail.” Thus, going against the univocal slant of the tale CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”. THE LINGERING NOW O AGORA QUE DEMORA: NOSSA ODISSEIA II Brazilian artist Christiane Jatahy, whose work simultaneously explores cinema and its mediation through the presence of bodies on the stage, returns to the subject of The Odyssey.After Ítaca (2018), she now travels to Palestine and Lebanon, but also to Greece, South Africa and the heart of the Amazon jungle, putting the words of Homer in the rugged bodies of refugees, migrants or indigenousOLD.TNSJ.PT
TN erentes nio a mera . Created Date: 5/29/2017 3:43:14 PM TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO From 1798 to 1992, from Real Teatro de São João to Teatro Nacional São João, how many theatres have occupied this building/monument? By initiative of Chief Magistrate Francisco de Almada e Mendonça and a group of private investors, who wanted the “Realm’s second city” to have a “fine school of manners and civility”, the Real Teatro de São João, thus named as an homage to the PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO From 1798 to 1992, from Real Teatro de São João to Teatro Nacional São João, how many theatres have occupied this building/monument? By initiative of Chief Magistrate Francisco de Almada e Mendonça and a group of private investors, who wanted the “Realm’s second city” to have a “fine school of manners and civility”, the Real Teatro de São João, thus named as an homage to the PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. LORENZACCIO · SÃO JOÃO The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho.Out of historical records from 16th-century Florentine describing the overthrow of tyrannical duke Alessandro de’ Medici, murdered by his cousin Lorenzo – insultingly nicknamed “Lorenzaccio” for frustrating the MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and THEATRE: NETWORKS · SÃO JOÃO UTE - Union of the Theatres of Europe. An organisation that congregates some of the most important European public theatres, the Union of the Theatres of Europe (UTE) was created in March 1990, with the political support of Jack Lang, who was then the French Minister of Culture, and inspired by the vision of a “Europe of the Arts” steadfastly championed by Giorgio Strehler, an Italian CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”.U · SÃO JOÃO
U tells the epic journey of a very peculiar Ulysses, not the superhuman hero of Homer’s Odyssey but a huge polar bear. Taking as her starting-point Maria Alberta Menéres’ Ulisses, a children’s version of the Odyssey, stage director Joana Magalhães drew inspiration from that book’s opening line: “Who tells a tale, adds a detail.” Thus, going against the univocal slant of the tale CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”. THE LINGERING NOW O AGORA QUE DEMORA: NOSSA ODISSEIA II Brazilian artist Christiane Jatahy, whose work simultaneously explores cinema and its mediation through the presence of bodies on the stage, returns to the subject of The Odyssey.After Ítaca (2018), she now travels to Palestine and Lebanon, but also to Greece, South Africa and the heart of the Amazon jungle, putting the words of Homer in the rugged bodies of refugees, migrants or indigenousOLD.TNSJ.PT
TN erentes nio a mera . Created Date: 5/29/2017 3:43:14 PM TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO From 1798 to 1992, from Real Teatro de São João to Teatro Nacional São João, how many theatres have occupied this building/monument? By initiative of Chief Magistrate Francisco de Almada e Mendonça and a group of private investors, who wanted the “Realm’s second city” to have a “fine school of manners and civility”, the Real Teatro de São João, thus named as an homage to the PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO The Teatro Nacional São João is a safe place. Over the last months, we have developed a detailed contingency plan that encompasses set preparations, rehearsals and the shows themselves, ensuring the security of the São João audiences, artists and workers, in accordance with the Health authorities’ recommendations. VISIT US: BOX OFFICE · SÃO JOÃO Reception and Box office. Information 800-10-8675 (Toll-free number) bilheteira@tnsj.pt Teatro Carlos Alberto. Tuesday to friday 14:00-19:00 (until 19:30 on the performance days) Saturday and sunday 09:00-12:00. Mosteiro São Bento da Vitória DOCUMENTATION CENTRE: DOCUMENTATION CENTRE · SÃO JOÃO Schedule monday to friday 14:30-18:00. Documentation Centre of TNSJ Mosteiro de São Bento da Vitória Rua de São Bento da Vitória 4050-543 Porto T 22 339 50 56 | pbraga@tnsj.pt The Documentation Centre of TNSJ is member of: SIBMAS Société Internationale THEATRE: MISSION · SÃO JOÃO The TNSJ is an Entrepreneurial Public Entity (E.P.E.) whose main public service objectives are the creation and presentation of various genres of theatre shows, in accordance with standards of artistic and technical excellence, as well as bringing audiences into regular contact with classic and contemporary reference works from the Portuguese and universal dramatic repertoire. TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos WESTERN SOCIETY · SÃO JOÃO We welcome 2020 with Western Society, a homely odyssey, where the whole world fits into a living room.This is an unmissable opportunity for the TNSJ audience to meet Gob Squad, an artists’ collective that was founded in the 1990s in Nottingham, England, and currently operates in Berlin, Germany.They inhabit a territory where banality coexists with utopia, where one’s physical presence is THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. BUILDINGS: TEATRO NACIONAL SÃO JOÃO · SÃO JOÃO From 1798 to 1992, from Real Teatro de São João to Teatro Nacional São João, how many theatres have occupied this building/monument? By initiative of Chief Magistrate Francisco de Almada e Mendonça and a group of private investors, who wanted the “Realm’s second city” to have a “fine school of manners and civility”, the Real Teatro de São João, thus named as an homage to the PRIVATE LIVES · SÃO JOÃO by Noël Coward directed by Jorge Silva Melo. Jorge Silva Melo and Artistas Unidos offer us an unexpected view of the sophisticated and brilliant Noël Coward (1899-1973), one of the most successful playwrights in the Anglo-Saxon world during the 1920s and 1930s. Afterwards, the British author’s work fell into neglect, but it was later “revived” (as a tribute, Harold Pinter staged one of MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and TEATRO NACIONAL SÃO JOÃO by Henrik Ibsen directed by Nuno Cardoso translated by Susana Janic stage version Nuno Cardoso, Manuel Tur. set design F. Ribeiro* lighting design José Álvaro Correia music and sound design João Oliveira costumes TNSJ video Luís Porto* movement Elisabete Magalhães direction assistance Manuel Tur with Afonso Santos, Joana Carvalho, João Melo, Maria Leite, Mário Santos, Rodrigo Santos THEATRE: HISTORY · SÃO JOÃO Bought by the Portuguese State in 1992, the former São João Cine was opened as Teatro Nacional São João at the end of that same year, with Eduardo Paz Barroso as its director. LORENZACCIO · SÃO JOÃO The Teatro do Bolhão company is presently assembling an ambitious triptych: its central panel is Lorenzaccio, a play by Alfred de Musset (1834), staged by Rogério de Carvalho.Out of historical records from 16th-century Florentine describing the overthrow of tyrannical duke Alessandro de’ Medici, murdered by his cousin Lorenzo – insultingly nicknamed “Lorenzaccio” for frustrating the MARGIN · SÃO JOÃO Brecht said that margins are as “violent” as the violence of the “river that drags everything”, because they confine it. Margem , under the direction of Victor Hugo Pontes, tells us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado’s Captains of the Sands (1937), a book that acted as his inspiration and THEATRE: NETWORKS · SÃO JOÃO UTE - Union of the Theatres of Europe. An organisation that congregates some of the most important European public theatres, the Union of the Theatres of Europe (UTE) was created in March 1990, with the political support of Jack Lang, who was then the French Minister of Culture, and inspired by the vision of a “Europe of the Arts” steadfastly championed by Giorgio Strehler, an Italian CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”.U · SÃO JOÃO
U tells the epic journey of a very peculiar Ulysses, not the superhuman hero of Homer’s Odyssey but a huge polar bear. Taking as her starting-point Maria Alberta Menéres’ Ulisses, a children’s version of the Odyssey, stage director Joana Magalhães drew inspiration from that book’s opening line: “Who tells a tale, adds a detail.” Thus, going against the univocal slant of the tale CASTRO · SÃO JOÃO Castro (1598), a play by poet António Ferreira, marks the first incursion of Nuno Cardoso into a canonic piece of Portuguese theatre, Portugal’s first classical tragedy. He intends to inhabit this literary fiction, which itself offers a very particular version of the historical drama/legend/myth of star-crossed lovers Pedro and Inês, making us “see with other eyes”. THE LINGERING NOW O AGORA QUE DEMORA: NOSSA ODISSEIA II Brazilian artist Christiane Jatahy, whose work simultaneously explores cinema and its mediation through the presence of bodies on the stage, returns to the subject of The Odyssey.After Ítaca (2018), she now travels to Palestine and Lebanon, but also to Greece, South Africa and the heart of the Amazon jungle, putting the words of Homer in the rugged bodies of refugees, migrants or indigenousOLD.TNSJ.PT
TN erentes nio a mera . Created Date: 5/29/2017 3:43:14 PM* Agenda
* · O Teatro
* História
* Missão
* Parceiros
* TNSJ E.P.E.
* Equipa
* · Edifícios
* Teatro Nacional São João * Teatro Carlos Alberto * Mosteiro de São Bento da Vitória * · Centro Educativo * · Centro de Documentação* · Visite-nos
* Contactos
* Acessibilidade
* Bilheteira
* Visitas Guiadas MSBV * Visitas Guiadas TNSJenglish
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de WILLIAM SHAKESPEARE encenação, cenografia e figurinos NUNO CARINHAS realização vídeo PEDRO FILIPE MARQUESELOGIO DO EFÉMERO
Maria João Reynaud, ensaísta e professora jubilada da Faculdade de Letras da Universidade do Porto, relembra o seu "encantamento" perante "Madame", "um texto dramático fascinante" de Maria Velho da Costa, levado à cena do São João em 2000, por Ricardo Pais. TODOS OS POSSÍVEIS DO MUNDO O dramaturgo, ator e encenador Carlos Costa reúne os fragmentos da sua memória de "Na Solidão dos Campos de Algodão", de Bernard-Marie Koltès, na encenação de Patrice Chéreau – esse espetáculo a que assistiu uma e outra vez, para "confirmar que não tinha sido um sonho, que tinha sido mesmo assim." ATROPELAMENTO E FUGA "A leveza com que os atores de 'Some Explicit Polaroids' desenhavam as palavras em palco e as projetavam para o público criou em mim uma conexão com uma estética performativa e dramática que, de alguma forma, ainda hoje se mantém." A dramaturga Cátia Faísco recorda a "irrepetível" encenação de Max Stafford-Clark da obra de Mark Ravenhill, no âmbito do festival PoNTI de 1999.PODEROSA AFRODITE
O ator e encenador Fernando Mora Ramos recorda "O Lavrador da Boémia, de Johannes von Saaz, o espetáculo levado à cena do São João em 1997, por Jean-Pierre Sarrazac. ISTO ESTEVE PARA SER UM SÍTIO COM UM NOME Hoje, Pedro Sobrado, Presidente do Conselho de Administração do Teatro Nacional São João, relembra "Exactamente Antunes", um espetáculo de Jacinto Lucas Pires que, escreve, "brincava ao teatro", entre "tragédia clássica, comédia romântica, musical (falhadíssimo), drama cerebral". "Exactamente Antunes" foi criado a partir da obra "Nome de Guerra", de Almada Negreiros, e levado à cena do São João em 2011, por Cristina Carvalhal e Nuno Carinhas. APOLÍNEO E DIONISÍACO O encenador Nuno M Cardoso recorda “uma manifestação de liberdade e de perda” – o espetáculo Orphée et Eurydice, coreografado por Marie Chouinard, que decorreu no Teatro Carlos Alberto, integrado noCiclo Dancem!09.
UM SONHO (OU TALVEZ NÃO) Eugénia Vasques, antiga crítica, professora jubilada e investigadora teatral relembra “O Príncipe de Homburgo”, de Heinrich Von Kleist, o espetáculo que António Pires e Luísa Costa Gomes levaram à cena do São João em 2010.RICARDO PRIMEIRO
“Uma encenação com os melhores e um trabalho obsessivo de direcção de actores em que tudo, mas mesmo tudo, serve o texto para pô-lo em acção.” O jornalista Pedro Santos Guerreiro escreve sobre “Turismo Infinito”, espetáculo com dramaturgia de António M. Feijó, a partir de textos de Fernando Pessoa, e encenação deRicardo Pais.
OBRIGADO, MESTRE MOLIÈRE Augusto Santos Silva, professor universitário, sociólogo e político, revela como redescobriu “O Misantropo”, de Molière, quando assistiu ao espetáculo que Nuno Cardoso levou à cena do SãoJoão em 2016.
NA CABEÇA DE SAMUEL BECKETT Rui Manuel Amaral escreve sobre “Endgame”, de Samuel Beckett, o espetáculo que passou pelo Mosteiro de São Bento da Vitória em 2017, com direção de Tania Bruguera. O escritor e editor recorda hoje como o espetáculo decorria “no interior da cabeça” de Beckett – e nele, “o que vemos é apenas o que Beckett quer quevejamos.”
REIVINDICAR A CIDADE A atriz e encenadora Sara Barros Leitão explica como o espetáculo “Esta é a minha cidade e eu quero viver nela” se tornou “um marco” na sua vida. Cocriado e dirigido por Joana Craveiro, este espetáculo de 2012 decorria ao longo de um percurso pelas ruas que circundam o Mosteiro de São Bento da Vitória e terminava no ClaustroNobre.
UM TEMPO SUSPENSO
Hoje, a Reitora da Universidade Lusófona do Porto, Isabel Babo, recorda “A Promessa”, de Bernardo Santareno, com a “admirável encenação” de João Cardoso e uma “impressionante representação”, um espetáculo que passou pelo São João no finalde 2017.
O PACTO DE CEGUEIRA ENTRE A PLATEIA E O PALCO “Uma peça dura, mas ter sobrevivido a ela é ter hoje uma parte da história da revolução do teatro em Portugal.” O jornalista Nuno Santos recorda o “ano mágico” de 2001 e o espetáculo “Ensaio sobre a Cegueira”, de José Saramago, com encenação de JoãoBrites.
METAMORFOSE E MEMÓRIA Isabel Morujão, tradutora e professora da Faculdade de Letras da Universidade do Porto, explica o seu encanto por “Alma”, de Gil Vicente, com encenação de Nuno Carinhas, o espetáculo de 2012 a que assistiu por três vezes, “fascinada pela encenação, pela representação e pela beleza surpreendente do texto vicentino animadopela voz em cena”
A PURA PRESENÇA DO GESTO “A Hora em Que Não Sabíamos Nada Uns dos Outros”, de Peter Handke, com encenação de José Wallenstein, é o espetáculo que hoje recordamos, através das memórias do ensaísta e tradutor JoãoBarrento.
UMA PRAÇA NO PORTO E UM BAIRRO EM MELBOURNE Numa noite de maio de 2003 em que o Porto fervia de excitação, o palco do São João acolheu a primeira apresentação do espetáculo “St. Kilda Tales”, de Raimondo Cortese, encenado por Adriano Cortese. Hélder Sousa, produtor de teatro, reflete sobre as semelhanças entre a cidade onde assistiu ao espetáculo e Melbourne, a cidade do bairro St. Kilda, de cujo nome este espetáculo seapropria.
LABIRINTO DE OBSESSÕES A coreógrafa Joana Providência escreve sobre o “labirinto de obsessões” e o “universo de percepções distorcidas de uma realidade possível” do espetáculo “Il Processo”, de Franz Kafka, encenado por Giorgio Barberio Corsetti, na Alfândega Nova do Porto, no âmbito do festival PoNTI, em 1999. OH LÀ LÀ, C’EST MAGNIFIQUE! “Irresistível, emocionante e inesquecível.” “C’est Magnifique”, de Jérôme Deschamps e Macha Makeïeff, passou pelo São João em 1997, integrado no festival PoNTI – Porto. Natal. Teatro. Internacional. Hoje, o ator Mário Moutinho revela essa sensação que o espetáculo lhe causou: a de “não saber se o que tinha visto era para rir ou para chorar – talvez para rir echorar.”
TODOS OS GOSTOS – TODOS OS DESGOSTOS – TUDO NO ESGOTO O espetáculo “Subterrâneo: o fim dos fins é não fazer nada”, criado a partir de Fiódor Dostoiévski, com encenação de Luís Araújo, passou pelo Salão Nobre do São João em 2016. “Até este espetáculo”, escreve o escritor e realizador Saguenail, o texto do autor russo “era para mim simultaneamente uma referência e uma curiosidade – não escapava à ‘literatura’. Porém, desde então tornou-se um companheiro, um fantasma íntimo, um duplo...”LUGARES ESQUISITOS
Mónica Guerreiro rememora hoje “um Hamlet a mais”, uma “peça teatral virada concerto rock”, criada a partir de William Shakespeare, com encenação de Ricardo Pais. Nesta produção do São João que passou pelo Rivoli Teatro Municipal em 2003, a autora ressalta o modo como “saímos rendidos, magnetizados, sem saber bem como lá fomos parar, mas desejantes de uma nova trip.” A ODISSEIA ÍNTIMA DE SANJA MITROVIĆ “Um teatro é (também) um lugar de pensamento – e o Teatro Nacional São João tem sido disto mesmo um excelente exemplo.” O espetáculo “Will You Ever Be Happy Again?”, de Sanja Mitrović, passou pelo Teatro Carlos Alberto em maio de 2011, integrado no ciclo “Odisseia: Teatro do Mundo”. Hoje, a tradutora e professor Alexandra Moreira da Silva escreve sobre essa “viagem ao mundo da infância em busca da identidade.” “OBRIGADO, MEU AMOR, POR SERES UM FAROL DE BESTIALIDADE NESTA LONGA NEGRA NOITE PORTUGUESA” O ator e encenador Pedro Penim regressa ao primeiro ano do milénio para recordar “Dedicatórias”, o “espetáculo-resposta” de Lúcia Sigalho “ao estado das coisas no verão de 2000.” NÃO PARES DE ESCUTAR Cristina Grande, programadora de dança e performance, escreve sobre “uma experiência desarmante e absolutamente inesperada”: o espetáculo “The Show Must Go On”, com conceção e encenação de Jérôme Bel, que passou pelo São João em dezembro de 2001, integrado na programação do Festival PoNTI. PRONUNCIA-SE “GILHI” | IN MEMORIAM PAULO EDUARDO CARVALHO(1964-2010)
"Nunca sabemos, mesmo, onde vamos arrumar o que vivemos durante um espectáculo. Regressar à memória deste 'gilhi' é voltar a um tempo e a um lugar, hoje, distantes." Rui Pina Coelho, dramaturgo, professor e investigador teatral, reflecte sobre as suas memórias de "O Concerto de Gigli", de Tom Murphy, com encenação de Nuno Carinhas, e presta homenagem a Paulo Eduardo Carvalho. BRINCADEIRAS DE CRIANÇAS "Experimentem fazer cócegas a um miúdo pequeno. O que ele espera que aconteça não é melhor do que aquilo que de facto acontece." Luísa Costa Gomes participou na tradução e na dramaturgia de "Ubu", de Alfred Jarry, com encenação de Ricardo Pais. É esse o espetáculo que hoje a escritora recupera e, escreve, "se ainda me rio quando me lembro, amigos, é porque foi realmente memorável." NAQUELA NOITE DE OUTONO ACONTECEU "Oblomov" tornou-se inesquecível para Margarida Fernandes pela "interpretação prodigiosa", pela "harmonia cénica" e pela "cenografia operática". Hoje, a atriz relembra esse espétaculo de Mihaela Tonitza Iordache, a partir de Ivan Gontcharov, com encenação de Alexandru Tocilescu. VIVA DOM UBU! TNSJ OFERECE OBRAS DE ALFRED JARRY PARA CELEBRAR O DIAMUNDIAL DO TEATRO
Na semana em que se celebra o Dia Mundial do Teatro, o Teatro Nacional São João e as Edições Húmus oferecem, a cada dia, uma das quatro peças que contam a história de Ubu, a personagem de Alfred Jarry já classificada como “o mais abjeto anti-herói de toda a literaturadramática”.
TEATRO NACIONAL SÃO JOÃO DISPONIBILIZA ONLINE 17 ANOS DE MANUAIS DELEITURA
Na semana em que se celebra o Dia Mundial do Teatro, o Teatro Nacional São João disponibiliza online mais de 30 Manuais de Leitura editadosdesde 2003.
NESSA NOITE DE HÁ 100 ANOS “No escuro da assistência, não tinha palavras mas lembro-me de ter pensado qualquer coisa como: é isto!, é isto que eu sempre sinto a ler Tchékhov e que nunca tinha conseguido ver em cena!” Neste Dia Mundial do Teatro, o escritor Jacinto Lucas Pires recorda com saudade essa noite de inverno de 2005 no Teatro Carlos Alberto em que assistiu a “O Tio Vânia”, de Anton Tchékhov, com encenação de Nuno Carinhas. Nessa noite, confessa, “descobri de novo por que razão gosto tanto de teatro."DIE BLENDUNG
“Um assombro que me assolou como um cometa.” Francisco Morão Dias escreve sobre “Eraritjaritjaka”, um espetáculo criado a partir de textos de Elias Canetti. Levado à cena do São João, “o Armário das Maravilhas”, em dezembro de 2006, este espetáculo teve encenação de Heiner Goebbels.O PRIMEIRO DIA
Há 23 anos, a jovem estudante Inês Nadais veio por mero acaso ao TNSJ assistir ao espetáculo “As Três Irmãs” e daqui saiu convertida ao Teatro. Hoje, a jornalista conta a história de como se produziu essa epifania, nessa encenação de Eimuntas Nekrosius, a partir do texto de Anton Tchékhov. UM AUTO DE EXTERMÍNIO EM CURSO Hoje, o poeta Daniel Jonas recorda "uma espécie de auto de extermínio em curso" – o espetáculo "A Salvação de Veneza", encenado por Ricardo Pais em março e abril de 1997, a partir da obra homónima de Thomas Otway. UM LUGAR CONGELADO NUMA CRONOLOGIA SEM DATA Em 2007, a encenação de Nuno M Cardoso de “Otelo” prendeu Ana Rocha “como um gancho”. Hoje, a mediadora cultural recorda esse espetáculo, uma das grandes tragédias de William Shakespeare, apresentado no palco do Teatro Nacional São João. O PANO DE BOCA E A LIBERDADE DO ENCENADOR Neste Dia do Senhor, José Augusto Cardoso Bernardes, Professor Catedrático da Faculdade de Letras da Universidade de Coimbra, escreve sobre a remissão dos nossos pecados em “Barcas”, espetáculo encenado por Giorgio Barberio Corsetti entre janeiro e fevereiro de 2000, a partir da trilogia das Barcas de Gil Vicente. O SILÊNCIO QUE ANTECEDE AS PALMAS Não é a resposta que nos ilumina, mas sim a pergunta. - Eugène Ionesco . Hoje, Paulo Araújo Ferreira recorda "Rhinocéros", de Eugène Ionesco, espetáculo encenado por Emmanuel Demarcy-Mota, emjulho de 2006.
UM “BARROCO DISCRETO” Hoje recuperamos as memórias de Isabel Pires de Lima (Professora Emérita da Universidade do Porto), que nos fala de "O Grande Teatro do Mundo", de Calderón de la Barca, encenado por Nuno Carinhas, emsetembro de 1996.
A MALDIÇÃO ESCOLAR DOS INTELECTUAIS Começámos ontem com o ator e encenador António Durães. Hoje recuperamos as memórias de João Sousa Cardoso (encenador e artista visual – e também professor!), que nos fala de “Lições”, espetáculo encenado por Ricardo Pais em 1999, a partir de uma peçade Eugène Ionesco.
A ILHA EM OBRAS? OU O TEATRO EM OBRAS? Impedidos de fazer Teatro por causa de uma epidemia que nos coloca distância e em isolamento, lembramos a cada dia um espetáculo passado do São João, tenha sido ele apresentado neste edifício centenário, no Teatro Carlos Alberto, no Mosteiro de São Bento da Vitória ou num outro espaço da cidade. Socorremo-nos da memória dos nossos espectadores, a quem o Teatro se confia sem reservas. Começamos com António Durães, lembrando “A Tempestade”, de Shakespeare, encenada por Silviu Purcarete no São João, no final de1994.
SÃO JOÃO SUSPENDE TEMPORARIAMENTE ATIVIDADES E ESPETÁCULOS No quadro do combate à propagação do novo coronavírus, o Teatro Nacional São João suspendeu os seus espetáculos e iniciativas. Mantemo-nos em funcionamento e regressaremos à atividade pública assim que possível. PLANO DE CONTINGÊNCIA O Teatro Nacional São João estabelece Plano de Contingência, que detalha as principais etapas e procedimentos a adotar, em caso de suspeita de infeção. PRESIDENTE DA REPÚBLICA DISTINGUE TNSJ COMO MEMBRO HONORÁRIO DAORDEM DO MÉRITO
No dia em que o Teatro Nacional São João (TNSJ) festejou o Centenário da sua casa-mãe, o Presidente da República, Marcelo Rebelo de Sousa, agraciou a instituição com o título de Membro Honorário da Ordem do Mérito, pelo “trabalho invulgar” de “democratização da cultura” desempenhado por este “teatro-referência verdadeiramente nacional e de vocaçãouniversal”.
UMA COMPANHIA QUASE RESIDENTE Nunca somos tão felizes como quando usufruímos da companhia dos atores. O seu ofício e saber são-nos essenciais. REABILITAÇÃO DO TEATRO SÃO JOÃO E PROGRAMA COMEMORATIVO DO SEU CENTENÁRIO (NORTE 2020) O final de 2019 trouxe boas notícias ao TNSJ: em dezembro, o programa operacional NORTE 2020 aprovou a operação “Reabilitação do Teatro São João e Programa Comemorativo do seu Centenário”, O TNSJ E A RTP APRESENTAM… Dos palcos aos ecrãs, da cena ao vídeo, partilhamos o nosso labor, a nossa herança, com outros públicos, noutras latitudes. Chamem-lhe serviço público, se quiserem. CADERNOS DO CENTENÁRIO Como conferir lastro editorial às comemorações do Centenário? A uma pergunta com 100 anos de história respondemos com uma coleção de seis volumes temáticos. Memória, arquivo, balanço. Estes indisciplinados Cadernos do Centenário têm um enorme passado pelafrente.
CCB E TNSJ ASSINAM PROTOCOLO DE COLABORAÇÃO O protocolo visa a apresentação de novos espetáculos em regime de coprodução, o acolhimento conjunto de companhias estrangeiras e a apresentação de espetáculos produzidos pelo TNSJ nas salas do CCB.ATALHOS
Caderno de Programação março 2020 – julho 2020 Caderno do Centro Educativo2019 – 2020
PRÓXIMOS ESPETÁCULOS TNSJ · 27 mar – 14 jul 2020CASTRO
Estreia
de ANTÓNIO FERREIRA encenação NUNO CARDOSO.
ESPETÁCULO SUSPENSO TeCA · 16 – 19 abr 202020.20
Estreia
direção artística ANDRÉ BRAGA & CLÁUDIA FIGUEIREDO.
ESPETÁCULO SUSPENSOELENIT
conceito e direção EURIPIDES LASKARIDIS.
ESPETÁCULO CANCELADO TeCA · 24 – 25 abr L’AFFADISSEMENT DU MERVEILLEUX DDD-Festival Dias da Dança coreografia CATHERINE GAUDET.
ESPETÁCULO CANCELADO INICIATIVAS PARALELASTeCA · 30 jun
CLUBE DE TEATRO SUB 88orientação
NUNO CARDOSO, NUNO M CARDOSO, EMÍLIO GOMESTeCA · 4 jul
CLUBE DE TEATRO SUB 18orientação
NUNO CARDOSO, NUNO M CARDOSO, EMÍLIO GOMESSiga-nos
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português · english800 108 675
------------------------- -------------------------Agenda
-------------------------O TEATRO
* História
* Missão
* Parceiros
* TNSJ E.P.E.
* Equipa
-------------------------EDIFÍCIOS
* Teatro Nacional São João * Teatro Carlos Alberto * Mosteiro de São Bento da Vitória -------------------------Centro Educativo
------------------------- Centro de Documentação -------------------------VISITE-NOS
* Contactos
* Acessibilidade
* Bilheteira
* Visitas Guiadas MSBV * Visitas Guiadas TNSJ ------------------------- -------------------------Details
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