A Look at the Portuguese World



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Yvette Vieira

Yvette Vieira

Friday, 28 December 2012 17:28

the spanish-making machine

Not an easy book to read at first. It is a tough and requires much persistence. Is a literary work on aging, Valter Hugo Mãe describes a reality that left him dismayed. And to better understand the work, I interviewed the author and this is the result of our conversation.

There is a character in this book that will live for a retirement home. Is it not a bit arrogant of you to describe a situation which you never experience?
Valter Hugo Mãe: I see things like that, the writing of fiction, literature, has more to do with the intensification of feelings and perceptions, than with the experience. Agatha Christie did not know have to kill people to be the in the head of a murderer. We do not have to go through the experience of all the characters I invented to write about them. This is what they are, invented. One of the things that fascinates me in the writing exercisem is this exactly, the power of imagination that leads without ceasing to be ourselves, without exiting out of our home, I usually work in my house, understand and what will be portraying fictionalized the lives of others. Peering into what will be a lifetime. Writing a book of fiction is always an attempt, a risk. To me interest me much more to write a book about a man of eighty-four years that I am absolutely not, because I could not compare me with someone so much older. But I was interested because it is a big challenge, to try to understand what the concerns, the plausible worries of a man at that age.
Does been older worries you? Fear of ending up like the character in a nursing home?
It worries me a little to lose capacity, the weakening. This thing as I say in my book, this thing of living a bit against the body. The body at a certain point it becomes our enemy. And that causes us tremendous frustration and eventually kill us. And I must have a certain expectation that does not stop me from been happy, to live and want to live, but I need to create a look to the future, pass it well. I better do this or not to do that that will aggravate my back problem. Or bone problems. And there is a forsight that interests me, because I liked to believe, more than that, I would like to have an old age with quality of life.

Language is another important issue in this book. It's hard to get under the skin of the character. It was deliberate to have the notion of the suffering of Mr. Silva?
What happens to this character is so violent that I thought it wasn't interesting to turn it right at the beginning of the book, in something different from that violence. I wanted to portray that would do justice to that kind of feeling, that total dysphonia that has to do with having lost his wife, having spent a life that suddenly finds itself running out an act so tragic. And so it has to do with the rhythm of things, then I think the novel ends by raising and ultimately winds up in some way. But the entry of the book needed that blackness because that was what that I was talking about.

Mr. Silva is a metaphor for our country?
Mr. Silva is a representative of our people. A nation grieved, disbanded, discredited, and then lives with many paradoxes, yells sovereignty but envys the Spanish. Finds out eventually that he's anywhere well. Mr. Antonio Silva has such a mixture and between believing and been something else. It is a character here and there, will turn from left to right. The average citizen is ever less structured than we could for the catalogs. Categorize people is a common definition and the citizen is always undefined, the subject is always a little more so and a little more than we roasted for the practice of the catalogs would have liked. And socategorized people is not easy. It is not easy to portray them in one fell swoop. The picture is only complete with these paradoxes and idiosyncrasies.

Which of the characters has more of yourself in the book?
Perhaps our beloved man from the National Museum of Ancient Art, Mr. Franco, because I love that illusion, the ability to love. The importance he attaches to books. Facing a book as a generous act, something that leaves generously to others.

Would you liked to be Spanish?
No! (Laughs)

Friday, 28 December 2012 17:23

Last stop, Massamá

It is a book that provides a temporal duality to connect two characters. A novel written in the rapid pace of urban life, increasingly dehumanized, more crowded and more withered of feelings. It is the first edition of a young writer, Pedro Vieira, who portrays the fictional life of people with whom we came cross every day.

There are two parallel establishing a battle between the Romans and the railway line, why?
Because there are a lot of parallels that can be done with that time and the way we live now. I think basically that the behavior they had on society at that time, because there had been reversals in order of the ancient world, have many similarities with our day with the exception of technology, of course. The type of political behavior, social, details of people living in buildings in height, the insulas. Disproportionate growth of the city, immigration in Rome, there are many things similar to us now. Secondly, I looked for a particular episode, that battle was the time when the empire stopped expanding. And stop its grows. From thatr point on  was always going backwards.

The analogy with the current set has something to do with the decline of society?
Not necessarily, I used it because there is a particularly important figure in this episode that was a general of an army that survives the battle, the ambush, but still decides to kill himself because he thinks he failed in what he had set out to do. So the parallel with my female character who loses control of her life and he decides to take her own life.

Somehow reading the book one gets the impression that they are based on people you meat on your daily life, in the train line ...
In some ways yes. There is a direct link, not individually, that is more a mix of the face that I saw. I am a frequenter of public transportation of course. For   circumstances of my professional life and also the place where I live, it's easier to use public transports than by car, and makes even more sense. In particular trains, because there was a time in my life who I used them frequently, is a vivarium for writing, it is very easy to look at people and to create alternative  lives. Guess who they are, what they do every day there, why they leave that station with all those bags, why they are crying on the phone, why all that rachet  with friends. And so for me it's easier, because I write mainly about what I see so there is a load of fiction about it, but it's the universe we live.

I noticed that the characters had nothing to you, of your experience.
No, indeed. What is there much of my in the writting itself. The humor that I use, it’s very much in the book. A person who knows me can minimally identify myself as the narrator of the story perfectly. But in terms of figures of the story I have no connection to then in reality.

Friday, 28 December 2012 17:20

The Message

Canto X
Salted sea, how much of your salt
Is tears of Portugal!
On the journey, how many mothers wept,
How many children prayed in vain!
How many brides remained unmarried
That you might be ours, oh sea!
Was it worth it? Everything's worth
If the soul is not small.
Who wants to go beyond the Bojador
Must pass beyond pain.
God to the sea danger and the abyss gave
But in him is the mirror of the sky.

Speaking of Fernando Pessoa's talking about one of the greatest Portuguese poets of the twentieth century. Is speaking of the man of restless personality that led him to create several heteronyms, with personal lives and different styles of writing. It is also to speaking of the Message which describes the epic of a small country planted near the sea.

The first time we discussed the poems of Fernando Pessoa we are forced to think. Yes, to think, reflect and discuss the meaning of what he writes. Not an easy read and to enter the skin of the personalities he created, there's something of ourselves that needs to be put aside. We can not approach it from our point of view, we have to keep your mind open, pass a sort of sponge in our reasoning because what is to come, is beyond us. And we need help, need some guidance and here we are dependent on the valuable help of our masters. I even believe that its to violent for a person so young to read it. Don't get me wrong, but understand some of the poems of heteronyms are a painful process, it's scary experience. It requires an intellectual effort for which we are not weel prepared on such a young age. To read him, you need to lived. You must have the soul of old man.
Fernando Pessoa must have realized this himself, the various selves that lodged in his mind might be too much for ordinary mortals, so that created some of whose poetry is more accessible, almost simple. He always speaks of his loneliness in fact been a genius would be a heavy burden and must been lonely. Painful, and perhaps thats why we have to suffer to understand.
The message however, is a trip to Portugal, for its heroes, its joys and sorrows is a modern narrative of a dreamed country and maybe failed. Not in the sense of a lost identity, but in the sense of high expectations that hwere not met. This is a mandatory reading because it speaks of a nation, there's a parallel to the work of Camões, the Lusíadas, but without the excitement. It's the dream of finding a country shattered by the mist. Everything is uncertain and ultimate / everything is scattered, nothing is whole / Oh Portugal, you are now fog.
Read this magnificent work, but to understand him you have to read the biography of the man, to vision complete portray of the various fragmented personalities in order to absorb the words he used as his whill. Good read.

Monday, 21 March 2011 00:00

Michael, the intractable


Now that the silence is a sea without waves,
And that it can navigate without direction,
Do not answer
To urgent questions
I made you.
Let me be happy
Already so far from you as me.

You lose life to desire it so much.
We only knew suffer, while
Our love
But time passed,
There is calm ...
Not disturb the peace given to me.
Hear your voice again would be
Quench their thirst with salt water.

The Poetry Day was yesterday, but anyway I want to honor the writer, essayist and poet of Coimbra, Miguel Torga. Through his book is maybe one of its most humble novel, the new tales of the mountain.

The writing of Miguel Torga, pseudonym of Adolfo Correia da Costa, has always had a strong emotional charge. New Tales of the Mountain are proof of this. This book portrays the daily lives of the people, the lost souls as he calls them, of the Portugal of the mountaineer described by the author, born deep in the North, which never forgets its origins. Do not expect this book to be a literary epic, read with respect and understanding, because as the writer himself says in the preface, explaining that he felt the need to portray this world of the smountain and I quote: "I promised that because I felt humiliated by so much dirt and misery, and ashamed to represent the thankless role of a chronicler of the world that can not read me. "
The rural world that it describes in this book, is the country of 60 years, poor, isolated and iliterate that both moved and saddened at the same time the writer. How can we read this book? How we wish, we can open it in any of the stories and delight us with the simple characters who parade through the writing of Miguel Torga. This is a readable and accessible to the reader and a classic of Portuguese literature, often overlooked, but that does not stop the thrill and the delicacy while crudely describes his brothers mountaineers. I highlight three of the characters I like best, Mariana, Pastor Gabriel and Alma Grid, each of these stories describes the people who lived in the mountains and their way of life being dominated and so dependent of nature, their animals and their beliefs. Far from everything, power, politics and told them that nothing, in a world where the church dominated, because the day-to-day was a constant grind for survival. Hope you enjoy and always ... read again and again. Good reading

Friday, 28 December 2012 16:58

Roberto Gomes, a indomitable spirit

It is one of the more promising of sequencial artist in Portugal and recently illustrated the life of a hero of the republic. A work that does not deplete his talent  little known in our country.

How did your passion for comics begin?
The beginnings were even in high school, where I met one of my best friends, who already drew frequently. But never very seriously, or even that there were professions that use the design. And I saw him draw, I had an epiphany when I saw that in  comics there were people behind it, and them it felt right  and I realized that if I draw up and continues to train, I could draw like that boy. And so it was.

And in terms of career?
That was much later and do not know if I can say that I created  a name in comics. The opportunities have been very few. I have training in graphic design and comics emerged more as an afterthought, from a certain point. And when there are projects I draw. I'm switching. Sequencial art came in college when I attended a workshop with a renowned artist, José Carlos Fernandes, and then he showed interest in my talent. And offered me a challenge, he had a set of stories in the drawer that he intended to deliver the other designers to do something different. He proposed me to draw a story, I illustrated, he liked and then decided to do a book of 72 pages. Belongs to a collection entitled, "the black book histories." The volume one was publish with another designer and mine is the second volume (unpublish), which have the subtitle "Sea of ​​Heraldo".

Guide us through the process of creating a comic book.
Jose Carlos writes short stories and screenplays and the designer haves the freedom to interpret them as you wish. The designer constructs the image sequence, a storyboard, decides wich words of the texts that must be represented by images, then the words make no sense, some are cuts in the text so there is no redundancy with what is being imagined and his is basically it. That is, we create the sequential images.

And what was your biggest challenge? And the most difficult?
The last book I drew was the life of José Mendes Cabeçadas Junior, an indomitable spirit. It was about the life of a historical figure and had to condense a life full of important facts in 40 pages. And that was a challenge. And the deadlines are not extended, an is a big responsibility, had to have a final appearance with quality and tell the story well. It was commissioned by the Municipality of Loulé and they wanted  Jose Carlos to draw it, but he had too much work and could not. So I decided to base myself in his style, adding my own, and creating a symbiosis with my particularyties and his, than used it in his comics. And so was born this unique book, with a minor influence of Jose Carlos and my design.

Tuesday, 01 March 2011 00:00

The german baazar

It is the latest work of fiction by Helena Marques that follows a troubled period of the history of the twentieth century, World War II. Is the story of the presence of Nazis in an uncharted island somewhere in the Atlantic Ocean.

I've always liked historical novels because, as a rule writers are always careful to contextualize the main figures of the plot in time and space as close to that same reality. Romanced the interaction between the characters, but this makes the narrative more interesting and helps to "hold" the reader. When the writing is fluid and clear, we are transported to these locations without ever having been there. Describe the daily lives of people, objects and gestures that are strange to us, but that help the narrative. "We traveled" sitting on the couch, a delight that only make us feel better. Therefore, when first I stumbled upon this publication I was quite surprised and intrigued by the title. Then I was even more amazed at the plot, since I was unaware of this chapter in the history of Madeira.

My notion of the 2nd World War was fead by my parents, who recalled a childhood marked by the severe shortage of food on the island at the time, and more, a bad memory smell that accompanied it, particularly my father, with the famous lamps with whale oil. Even today when he speaks about that period, recalls that could not have the lights on, the windows were covered with darkened sheets to avoid even the slightest fringe of light, as warplanes flew over the island at night and the only acceptable form of lighting , available and affordable, was disliked by everyone because of its bad smell. But what I do not recall was any reference to the Nazis. Incidentally, these was the reason that led me to read this book. And for once, it lifts the veil of a certain society of the city of Funchal, who was until them unknow to me, since my parents came from the rural areas, and also how politics comes to a point somewhere apparently lost in the Atlantic Ocean.
Helena Marques tells us accurately, the history of these various characters that intersect at various points on the island and its weaknesses as human beings. The plot focuses on the actions of intimidation perpetrated by the Nazis in Madeiran land and the persecution of Jews in this locations. Read it and enjoy it. It's almost a breath .. and I say no more, for it will have to read it! Good reading.

Monday, 14 March 2011 00:00

Black love

The author Mario Claudio writes a book that is not a novel but the story of several lives cloistered. It is a psycho-report of ordinary people immortalized by the pen of the writer.

The Ursamaior is a book that covers the lives of several people who for various reasons (and can see why in your reading), will end in jail. The stories are not interlinked, not even the "characters", indeed, they are all real cases, perhaps the only link is the prison.
This publication has a very personal meaning for me, since its content was discussed in class with the author, Mario Claudio who was one of my college professors.
Of the short stories contained in this psycho-report, designation created by the own author, there was one I will never forget because it raised a heated discussion in the classroom, the drama of Henry, the medical student who kills his ex-girlfriend in broad daylight , in the university who both attended. The disturbing Mário Cláudio asked the class whether there is the a so-called black love?
A love that does not knows the constant smile, the happiness of being in the company of someone we love, the sharing those moments and unforgettable experiences and the implicit complicity.
Is there a love that makes almost sick with anxiety by the presence of the beloved, the exchanging insults that end in recriminations and end up in authentic battles, sadness yes, a strong feeling that you can't not boot from the soul and also the need to be there glued to this person whith who. .. can not live with it or without it?
Or is only the crime that resulted from Henry's insanely jealous by the loss of something that he thought it was his? To answer these two questions ... yes, you have to read! Yes, yes, I am a killjoy. How awful! READ? Couldn't I just spit it soon! No, read, think and enjoy your reflection. I can only say that Mario Claudio believes that Henry is not mentally unstable.
As the conclusions of the debate that has arisen in our classroom I can only say that the results were inconclusive. There were those who defended the existence of such a thing as a balck love and others who simply argued that it was just a romantic term to justify unacceptable behavior itself. So, Read and decide. Happy reading!

Tuesday, 01 March 2011 00:00

Full house, thel bets are off

This is the story of an inveterate poker player and the adventures that have led to a series of problems. A short film by Rui Rodrigues and Bruce Paulino da Silva who, unlike our anti-hero they took the fight and won.

How did you got the idea for this movie?

It was an idea that occurred to me and my friend Bruce, who is another director, in the coffee shop. In Madeira they have the mentality that nothing is done, you can only can do something if there is support. And Bruce and I decided to make a movie without anyone's help. I had a sheet with a draft histor. We knew the Die4films, let's talk to them and risk. We were two kids with no training in the area but very willing to take the project forward. We contacted the producers they liked the idea. We begin by working on the script, developed the story and it became solid. It was then presented to the actors. At the time I was doing some acting and some of our friends from the theather participated on full house. The film was a psychological slap for all those artists who live in that world that we can only make art if they have support. An artist takes his worth and they have exhibited. We wanted to see how far we could go. We won the festival here in Madeira, but also we competed at the Cannes Film Festival. The curious thing is that we show the first short film there than here. It was weird.

What was the reaction at Cannes to your short?

They liked it. And thought it was good for a first experience.

Wednesday, 12 December 2012 17:19


Este é um espaço de divulgação de todos os grupos, associações e entidades culturais que desde o princípio apoiaram a yvi.


  • paparazzi moda

Tuesday, 01 March 2011 00:00

A movie producer to Die4

Appeared four years ago and despite being a small business, are seeking their place in the sun in the global market. They aim to deal with a contemporary image and make the most of all tell stories about parallel worlds.


Is it bounding to have a film production on an island?

Marta Leon: I think not, because we have worked out, of course there are geographic limitations, our contents are for Internet and are produced for this purpose. The platform is not physical.

Then there was a strong focus on the global market?

Filipe Ferraz: Yes this is the objective, there are some limitations however. We are far from centers of decision, we are also far from customers that maybe have more visibility. But even with these "obstacles" the company decided to open here, because nowadays, with all online communication is easier to reach these customers such.

ML: The biggest work have always been documentaries. Then we support other projects such as short Rui was something we wanted to do that, it is fiction and was approved accordingly, but our market is advertising what companies need most, also some television, but especially on the Internet, promotional videos and some events. We help teams outside of Madeira that are shooting here. This aspect is very interesting because I learn a lot and they always need someone who knows the terrain. Then we know the clients, and on the other hand, makes our work more internationally.

It was difficult to implement a production company in Madeira?

FF: At the beginning it was. We started in a way that was very active, we submited projects, implement proposals in some companies or entities that we felt needed to improve its corporate image. It was difficult as we had nothing to present, from a certain point on, we had not only scripts, but the work you've done. And at that stage, people liked the way we make video, storytelling and our way of transmitting information.

You have different sections from you can create. what is your favorite?

ML: I like documentaries. Because it makes you enter in the story and the people you're working with. It forces us to realize what are you talking about and studying. I also like any area of production, but what pleases me most is to follow up the camera crews outside, because it allows me the contact with different people from different areas and I find it very stimulating, motivating and makes us grow .

FF: Just like Martha I like more the documentary because we are three months to shoot a story with a half dozen people in a world that is not ours. There are many people who pass us by on the street, of which we know nothing and suddenly we realize that there are a series of worlds next to ours and that's what we expect. In fiction, I do not know if I like or not. I am entering with much effort.


FF: It's lack of experience and practice. You must deal with players, as opposed to documentary we talk to people about their life, is real. In the movies we have to say, now take a step back, now laugh. We have not found our way to work in fiction.

ML: In the documentary we have to win people with whom we work so they feel free to tell things and forget that the camera is there. As in fiction, we can not forget it's there, and everything is done for ther. And we have to educate people who to stand in front of the lens. In the documentary we don't, the challenge is different, it is necessary to create closeness in this world.

What was the documentary that scored you the most?

ML: For me? the electrical body from the dance troupe with a difference, the theme itself. It is an inclusive dance group, have cast people without disabilities and with physical disabilities and beyond.
... And makes us see everything differently. I do not know, is the fragility of the body that interests me and how much Philip explored in terms of achievement. It is a theme that was very dear to me, and still is. And work it was a privilege.

F: The electric bodie for the same reasons stated by Martha, becouse it was the first, we were doing our vision, I also had to learn how to make it and was challenging.


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