The Sleeping Beauty

Teatro de Ferro

20 Oct · 19h

TMP Rivoli – Auditório Isabel Alves Costa

50' · M6

Subtitled EN

© Susana Neves

Direction, set design, sound effects and text Igor Gandra

Performance Carla Veloso, Diogo Martins, Dóris Marcos, Igor Gandra

Puppets and props Eduardo Mendes

Light design Mariana Figueroa, TdF

Photography Susana Neves

Film – Diretion: Igor Gandra; Editing: Carlota Gandra; Puppets and props: Hernâni Miranda, Igor Gandra; Performers: Álvaro Pinto, Cândida Alves, Carla Veloso, Carlota Gandra, Hernâni Miranda, Maria Antónia Bacelar, Maria Rouco, Mariana Ferreira, Mário Gandra, Matilde Gandra

Construction workshop Hernâni Miranda (film), Eduardo Mendes (general coordination), Américo Castanheira, Luísa Natário, Marta Figueroa, Débora Castro (trainee EPC)

Costumes Ana Ferreira

Executive production Teatro de Ferro

Acknowledgements Maria dos Prazeres Rovisco, Teatro Nacional São João

Funded by República Portuguesa – Ministério da Cultura / DGArtes

www.teatrodeferro.com

Our Sleeping Beauty! For the little ones and for the not so little.

Bela has fallen asleep. It is said that pricked by a screw or something of the sort. Be as it may, she actually fell into a slumber and kept on sleeping for many years. We felt it odd that no one took care of her for such a long time. So we found not one, not two, but at least three people to care for her while she slept. Meanwhile, while she slept, she dreamt. They tried to assure that everything was all right whilst our Bela dreamt, and that she kept growing up while she dreamt.

Bela slept for such a long time that she became really proficient in the art of dreaming and sometimes her dreams were so intense and so weird that they became intertwined both with the dreams of her carers and with their reality. By this time, she was the one that had to care for them.

One day she, perhaps, woke up, and people perhaps started doing other things but they remained Bela's comrades.

Teatro de Ferro was created in 1999. Initially as an outlet for the creations of Igor Gandra and Carla Veloso, gradually it evolved to be a professional structure. The chosen name evokes the notion of the primordial matter, unyielding and yet changeable, this process still inspires us today. The company has been focusing its work on puppet theatre and theatre with puppets and objects. The company always aims to explore the potential of the puppet as its core and its metamorphosis. The interaction between the interpreter as a body, the handled object and the compliance of the spectator are the by-lines of TdF artistry. In our shows the word has the same weight as other forms of expression. We endeavour to promote contemporary Portuguese playwrights, for this reason we have primarily brought to the stage original texts by these authors. TdF has been captivating different audiences. Through unlikely partnerships, the constant search for alternative contexts outside the arts' establishment, intense touring, the creation of shows targeting younger audiences, we aim to share our work with wider audiences.