This is a house in the center of Coimbra, which aims to change the way we look at the theater. A passion that comes from director Ricardo Correia and many artists who refuseto lower the arms.
Tell me why this choice to stage this play?
Ricardo Correia: We received an invitation from a health care association, which moves from a concept called human merchandise which is a project to raise awareness against human trafficking. And at the time asked us to work with this theme, by the time we were forming the team, we were looking for material, read many books, films, fiction, documentaries, and this was one of among other pieces we commissioned to serve as material and liked both Helena and I, because I thought it she was the right person to do it. She also liked a lot and decided that it was part that made sense at the Corner House.
The piece was written for a conventional space, however, you have chosen another type of stage. Why?
RC: the piece was written by Lucy Kirkwood, is a British playwright, wrote this piece in 2009 and won one of the most important awards of the British drama, the "Whiting Award 2010."
She wrote and it was staged in a warehouse. In Coimbra, the Corner House, we decided to do it in rooms where we had very little space around 16 people per recites, is very little, but it was our option. And in our work we have followed a line that is to work unconventional spaces. We got through a text or a textual input perform, other types of production, the scenic object that you take for another space. When we asked for the "I love theater"of Camacha the decision was to do it in a space that was not the theater, our idea was always that, and decided to come to the warehouse.
But, does the theater not require the public to be more feasible, however, you perform plays in places where they fit very few viewers?
RC: Yes, but for us the theater is not just entertainment. In this case we seek a strand of awareness, break some rules. The theater itself, continues to prevail and it depends on who does it, and we are fighting this side only entertainment, many people in a room. Our work goes almost to the root of theater that is a ritual, a space where there is a strict division into those who do, the doers and the beholder. It is a more ene, not being conventional. Our fight is this. There is a counter intuitive to us.
And how will the public react? What is feedback?
RC: The first show we did there were actors. The public took an mp3 was in Coimbra in an urban space and hast various facilities provided by the city, they took a map and listened to instructions and meet the city like someone who's going to sites looking for a room. The public was given a role and no longer has a passive side and spent an agent of action and went looking for things.
In the second scenario, we made the piece in a botanical garden which was a huge space in the forest that was a prohibited area and at night. And we work to the memory of those who passed through there, who worked in that area and it was almost a guided tour, we play with this concept, the tourist side who we're not , but we played with it.
This scenario of Lucy Kirkwood, in Coimbra, we felt that people did not want to invade the space of the person who was doing, how she felt trapped because the story of Diana is someone who is in jail and will become increasingly arrested. And it is a person who wants to raise, and people were afraid to respond and notices that are not used to this type of scenario.
We do not want to do anything new, like the Clash del Baus that throws people farinha is more the intimacy of eye contact and people are not used.
How then can do you see the theater? Because what you do is an adventure?
RC: Well this is so, for me is my life, it's my dream. The Corner House is a baby in the sense that he has three years and therefore is a struggle. At first , we had a special support of the Ministry, them none and now we went to an annual incentive, that is not much, and many of us do work with other groups, such as in Porto and Lisbon, is a risk and penalty applies. For me it was a struggle and for Helen had to leave the Madeira looking for somethig else. You know you can not explain is irrational and makes no sense. But our struggle is wanting to move people to do anything.
And the Portuguese public complais?
I think if the public is accustomed to seeing different things and not formatted matches. My parents have the fourth grade and never saw the theater, even for them it was strange when I decided to do theater, because until the seventeenth but them they watched my work and other people and now they have a taste more diversified than the conventional mass, and entertainment and I think that is very good. But if you are educated to view various things you know and do not give you choose just one. It was like when I tasted the first time, Poncha, is brilliant, but then took a second sup and thought, no this is it. you have to choose.
And you, who never had any contact with the theater, why did you decided to make this life?
RC: It was not rational, it was late at seventeen, I was a bad student, I decided to write me in a drama school and my parents said no. It brood me for long, and then came the University College Theater and I did an audition and ended up at the National Theatre of St. João, Porto.
And this experience was the important to you?
RC: Yes, because it opened many doors and you have many contacts, but I've worked in smaller companies and then stared in Coimbra. I was in School of Night at the theater in Guimarães. Walked around and sometimes I go out in training and also inside.
There are differences between public in rural areas and most of the inner city? People outside of metropolitan areas complain that culture is not enough.
RC: I think there is. There are good actors and people who are cultural agents like us who want to do good things, and want to move people and say something.
Then there are those who want to earn much money from it. I have colleagues very well known on television and that brings much public at the theaters and is great, but just do things that are pure entertainment. And there are those who do things without validity. This is a choice that the audience has to do.
And because of these big names there is more support, or not?
RC: They usually do not have support of the ministry, but manage funds from municipal theaters and companies to fund projects. I think there is no bad, and depends on what you want to do. And there are those who prefer the conventional and make money is an option that everyone should have.