Teatro de Ferro [Portugal]


22 May at 9.30pm (Thursday)
World premiere

Direction and performer: Igor Gandra Music: Carlos Guedes Set design and puppets: Igor Gandra Movement: Carla Veloso Construction: Eduardo Mendes, Hernâni Miranda, Américo Castanheira -Tudo Faço Photos: Susana Neves Technical direction: Mariana Figueroa Production: Teatro de Ferro Company sponsored by: Governo de Portugal - Secretário de Estado da Cultura - DGArtes Technique: Mix For audiences over: +16 Running time: Approx. 60 min. Language: Portuguese


In this solo performance the condition of the performer creator is called into question: what happens when we lock ourselves in a room aiming to create something new? A new performance where we discover resonances from universes as diverse as Jorge Luís Borges, Andrei Tarkovsky, Ágota Krystóf or Heiner Muller.

The Teatro de Ferro premieres OLO in FIMFA Lx14, after the showcase of a work in progress version in the last edition.


Teatro de Ferro was born in 1999. Originally created as a label identifying the creative works of Igor Gandra and Carla Veloso, the project gradually involved towards the state of a professional structure of creation.
The choice of this name - Teatro de Ferro (Iron Theatre) - presupposes a notion of primordial, resistant and at the same time changeable matter: this transformation process continues to inspire them.
The work of the Company has been developed in the theatre of, and with, puppets and objects. They conceive their practice in the logic of a research in which the puppet has assumed a matrix value in its possible hybridations, both tempted and tempting.
The relations - of the body interpreter with the manipulated object and the implication of each spectator in the building of this relation - are lines of reflection that are transversal to the artistic practice of Teatro de Ferro.
The promotion of Portuguese contemporary dramaturgy is a defining trait of their artistic project, the reason why the company has mainly worked with original texts by Portuguese writers.
TdF has been reaching heterogenic publics. Improbable partnerships, the search for alternative contexts outside of the usual circuits of the performing arts, the intense itinerating activity, the creation aimed to the youngsters, and the projects of cultural action, are TdF clearest gestures, and in this way they declare this plural wish of sharing.

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