Quarta Feira: O tempo das cerejas

Cláudia Dias invites Igor Gandra · PT

14 Oct · 9pm

Campo Alegre · Auditório

70' · M14

After session talk with Regina Guimarães and Cristina Grande

Subtitled session PT/EN

© Bruno Simão
© Bruno Simão
© Bruno Simão
© Bruno Simão
© Bruno Simão
© Bruno Simão

Art director Cláudia Dias

Guest performer Igor Gandra

Performance Cláudia Dias e Igor Gandra

Set and Puppets Igor Gandra e Cláudia Dias

Visual and art work Eduardo Mendes

Construction Workshop Igor Gandra, Cláudia Dias, Karas, Eduardo Mendes, Daniela Gomes e Nádia Soares

Light Design Nuno Borda d'Água

Critical follow-up Jorge Louraço Figueira

Artistic Support Karas

Technical direction Nuno Borda de Água

Support Teatro de Ferro

Residency TMP/Teatro Campo Alegre, Teatro de Ferro, Companhia de Dança de Almada, Centro de Experimentação Artística do Vale da Amoreira. Cláudia Dias is an associated artist at O Espaço do Tempo.

Co-production Maria Matos TM, Teatro Municipal do Porto, Centro Cultural de Vila Flor.

Production Alkantara

The project Sete Anos Sete Peças has the support of Câmara Municipal de Almada.

Alkantara – A.C. is financed by DGartes, Governo de Portugal, Câmara Municipal de Lisboa

This is the third episode of the cycle Seven Years Seven Plays created by Cláudia Dias, in 2016, with Segunda Feira: Atenção à direita (Monday: Watch the Right) followed by Terça Feira: Tudo o que é sólido dissolve-se no ar (Tuesday : Everything that's solid dissolves in thin air).

The play is structured around a timeline composed by facts that already happened and facts that haven't happened yet. A task, a space, one material and a will to transform the world. These are the tools that the choreographer Cláudia Dias and the puppeteer Igor Gandra, the guest star in this show, use to create this gathering. Wednesday: Cherry season Puppets witness the overcoming of the new-liberalist paradigm and maybe even something more.



Wednesday: "O tempo das cerejas" ("The Cherie's season") premiered in June, at Festival Alkantara. The set consists of a huge hole surrounded by a bunch of planks of laminated plaster, as if a wrecking ball had fallen on a plasterboard floor. By building the set from a familiar household material, and immediately deconstructing it, Cláudia Dias and Igor Gandra are evoking all that is swept under the rug of the West. Currently, both on the web and on TV we can easily find footage of aerial bombardments inflicted by the European powers, despite this, the bond between our homes and those far off bombed craters are much harder to find. This black hole right in the middle of the stage brings up this causal link. It's not just about shining a light on the responsibility that European social democracies have on the massacres occurring currently around the world. The black eye in the middle of the ground is a sign of a negative omen that reveals what needs to be done.
Jorge Louraço Figueira



Cláudia Dias was born in Lisbon in 1972. She is a choreographer, performer, and teacher.

She is currently completing her Master's degree in Performing Arts at Universidade Nova de Lisboa. She began her dance training at Academia Almadense and received a scholarship to continue her training with Companhia de Dança de Lisboa. She completed the training program for Contemporary Dance performers at Fórum Dança and the Professional Course in Management of Cultural Organizations and Projects organized by Cultideias.

She began working as a performer with Grupo de Dança de Almada. She was part of the artists' collective Ninho de Víboras. She collaborated with Re.Al and was a key performer in João Fiadeiro's work and in the development, systematization, and transmission of the technique of Real-time Composition. Dias created the following pieces: One Woman Show, Visita Guiada, Das coisas nascem coisas, Vontade De Ter Vontade, and Nem tudo o que dizemos tem de ser feito nem tudo o que fazemos tem de ser dito. She developed the educational project Nesta Parte Esquinada da Península with Azala, Muelle 3, La Fundición, and Festival BAD. Since 2007, she regularly teaches workshops in Choreographic Composition and Real-time Composition. Her work as a choreographer, performer, and teacher has been presented by many organizations, theaters, and festivals in Portugal and abroad.


Igor Gandra spent his formative years doing theatre, dance, puppetry and handling of objects, philosophy and martial arts. The following are some of the highlights of his formative carrier: internship Paysages Interiores at the Institut International de la Marionette with Phillipe Genty, in 1995 and O Espaço do Encontro by architect Jean Phillipe Vassal at the FIMP 2005.

Between 1993 and 1999 he worked at Teatro de Marionetas do Porto under the direction of João Paulo Seara Cardoso.

In 1999 he established Teatro de Ferro of which he is the artistic co-director and resident director. He directed and co-directed along with Carla Veloso over thirty shows.

Published texts: Lura – Centro Cultural Vila Flor, Boa União -Teatro Viriato, Atas da Conferência Nacional de Educação Artística 2007, O Tripeiro, Comédias do Minho, 10 Anos, Le monde Diplomatique, Móin-Móin – Revista Brasileira de Estudos Sobre Teatro de Formas Animadas and at the French newspaper L'Humanité.

Lecturer at the following institutions: Universidade de Évora, Instituto Superior de Ciências Educativas, Balleteatro Escola Profissional, Escola Superior de Educação de Lisboa, and more. Since 2009 he is the Artistic director of Festival Internacional de Marionetas do Porto.

Member of the Comissão Artística das Comédias do Minho since 2013.

Awards: Clube Português de Artes e Ideias in the competition O Teatro na Década, in 1997; Prémio Revelação Ribeiro da Fonte – Teatro 2004 by Ministério da Cultura/Instituto das Artes; Medalha de Mérito Cultural e Científico do Concelho de Vila Nova de Gaia – 2005. Troféu Aquilino Ribeiro - Revelação 2005 granted by Jornal do Centro, Viseu.


Campo Alegre

Rua das Estrelas, Porto

226 063 000


Travessa da Formiga nº 65
Espaço 1, Piso 1
4300-207 Porto
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