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The portuguese music show by tec

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The experimental theater group of the People's House of Camacha was founded in 1989 with the purpose to promote culture thru an art form less recognized by the public. After 27 years of existence already have a broad curriculum, which never sees to grow up. They also are responsible for the unique theater festival in Madeira. Actively engaged in Camacha's art week, their musical show is the highlight of this event, such is the massive participation of the public. A performance that moves about 40 members of the group comprising the four briefs of social criticism, with music and dance, as the main responsibility of the TEC explained.

Why a Portuguese musical show?
Basilicia Fernandes: The Portuguese musical show usually conveys a great sense of humor. And we are facing a public that has mostly the idea that the theater is to laugh, that just makes humor, even though most people know that we are a group that put into stage all kind of theater plays. This show is to animate the spirits of the public; it must be alive and conveys also our criticism.

Sara Branco: Is a form of social criticism of what is happening here in town, the island or on the main land. The theater is the ultimate stage. Who can make critical for free and without consequences? That's us. Therefore, we take these experiences, the strongest themes of the year; this year is the crisis and talk of it. There is no other alternative.

BF: In the past we have made the seven wonders of Camacha. What we did use? What we thought was more run down, grumble, strange and sad, these were the themes chosen. It was very well accepted by the public.

From what I gartered the show is massive, that people can barely move.
BF: Yes, it is a fact. People come to see the theater. And in those four or five days that the festival Camacha's works of art, having a night of rock, folk, jazz and popular singers, in fact no one can fill the square as we do, one amateur theater group. Last year, two thousand people were counted.
SB: People are curious to know which one will be the target of our criticism. We criticize the local population, in a good way to play without hurting susceptibilities. People end up knowing who we're talking about and laugh. Because the Portuguese music show does that in general. It's an entire show, with dance, songs and skits put up like a vaudeville theater. Although the percentage of briefs about the national reality is very small compared to everything else. Since the lyrics from the texts, everything is related to us.

You can slightly raise the veil of what will be on the show?
José Ferreira: Well, we cannot do it too, because people are paying attention. It's almost like a state secret. Essentially are issues related to Camacha and Madeira. Changes from show to show, because deep down we are amateurs. We have tried to address what people have tried to be genuine and adapt. You get the gist of what we have and never try to imitate a professional show, as those put on stage in Lisbon. They are different situations.

How did you come up with the idea of his king of show?
BF: In 1989 we were the first to be organized in partnership with Inatel, it must be emphasized that our existence owes much to this institution, the first cycle with amateur theater groups of Madeira. To carry out this project together we created loose sketches and at the time the Inatel's coordinator, Carlos Pereira, he gave the idea that this collection of humorous work that we should give it the name of the Camachas Theater show. It just stuck. That same year we presented a play outdoors, but did not work much, because there was not a suitable apparatus at the time. Later, we tried again to bring to the scene our true musical show.
SB: We go over the years creating isolated texts. After that, we gathered the entire group and ideas arise until pops up the issue. Put it all together so that there is an entire show.
BF: The show is designed that way because in the past were dead spaces and to avoid this we set up a time to imitate advertising. The aim is to soon find someone on the scene so that there is a follow-up. We have a furious pace to prevent the public nuisance. People tell us that after an hour and a half out there their feet are numb, because unfortunately we do not have a capable auditorium.

As a theater group does you noticed the difference of public, when it staged a more serious play and another with a humorous side?
BF: Yes, we noticed the difference. We've had pieces in which the public was very limited. People are now more accustomed to the theater and come to see it not matter we do.
SB: But, there is still a discrepancy.

Interestingly Camacha has a great cultural agenda. As is the case of the theater festival, a type of event that usually is organized in big cities, but that is not the case in Madera, why?
BF: Camacha is dubbed the cultural capital of Madeira and I increasingly believe it's true. Although the city of Funchal have many events, but are isolated and more diverse. We have a range of different groups here. From folklore to choirs, there is a bit of everything.
SB: People who live here are open to the culture. The house of the people of Camacha was also essential in this process. They made a difference because they were receptive to the culture. There are places where we have entered and were receptive; others do not even open the door. I think that counts. Then there is also another very important factor in Camacha young people there have an art education. There is a family culture towards these, young people do theater, or play an instrument or dance in the folk group and they do it naturally.

Your group is also an example.
BF: Yes, we have many young people and this is because they are influenced by the music show. Parents bring then to see the plays. They come to address us backstage, and I ask then to wait, because our group while being amateur has the peculiarity of investing in theatrical training. These elements all at the end of the course join the Camachas arts show. They adhere with an iron will and when we have to take a play into the scene, Jose Ferreira as the director has to choose who best fits the role. And they understand and accept.

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