December (15th): Talk - Registering Creative Processes: Challenges for Musical Theatre: The indisputable ephemerality of theatrical works seems to be more related to a bookish culture than to the materiality of the Performing Arts. To discuss this issue, the research carried out at the Dramaturgy Laboratory (LADI)-UnB and financed by CNPq, which has developed a prototype of online musical dramaturgy, was presented. This talk was given by Professor Marcus Mota (UnB) on December 15th, at 5 pm in the Video Room of the School of Arts and Humanities (FLUL) Faculty of Arts of Lisbon University.
December (14th): Wax Masks - The Performance of Death in 19th and 20th Century Literature and the Arts: Drawing on the contributions of a heterogeneous group of researchers from different Portuguese universities, these sessions questioned and analysed how ‘death’ has been configured in literature, photography, cinema and the performing arts in recent centuries. The sessions took place on 14th December, between 9:30 am and 5:30 pm in room 5.2 of the School of Arts and Humanities of Lisbon University. To consult the poster, click here. To access the programme, click here.
November (7th - 10th): Conference and Exhibition on 100 years of October in the Society of the Arts: The October 1917 Revolution led to profound worldwide social, political and cultural transformations that paved the way for new artistic paths. The exhibition was at the School of Arts and Humanities of Lisbon University between 6th to 10th November, with the conference running between 7th and 10th November. For more information, click here.
October (26th): Emília das Neves - Ana Isabel Vasconcelos: Emília das Neves e Souza (1820–1883), artistically known as Emília das Neves or simply “Beautiful Emília”, whose bust is in the entrance hall of the D. Maria II National Theatre, was the name chosen for the fourth volume of this collection. The launch of this new volume of the Biography Collection of the Portuguese Theatre took place on the 26th October at 6 pm, in the entrance hall of the D. Maria II National Theatre. For more information, click here.
October (2nd): Six Formats - Lecture-Performance Format: CET hosted the art-based research project Six Formats, based in the Academy of Fine Arts, in Vienna, led by Ingrid Cogne and Felicitas Thun-Hohenstein. On 2nd October, Six Formats invited us to a session of communicating/circulating knowledge based on the lecture-performance format. The research team gathered in Lisbon built on a selection of parameters that was tested on the spot: duration, location, setting, objects, degrees of participation and levels of manipulation. For more information, click here.
September (30th): António Pedro by Rui Pina Coelho: After the Companhia Rey Colaço – Robles Monteiro and Alfredo Cortez, the “Portuguese Theatre Biographies” collection continued with a volume dedicated to António Pedro. This biography was launched on 30th September, at Teatro Nacional S. João in Porto. This collection comes from an editorial initiative from TNDM II, TNSJ, CET and Imprensa Nacional-Casa da Moeda. For more information, click here.
July (10th - 14th): Open Course: Connections between Portuguese and Ibero-American Literature, the Visual and the Performing Arts: CET and the Centre for Comparative Studies (CEC) organized the open course, “Connections between Portuguese and Ibero-American Literature, the Visual and the Performing Arts”. The course ran between 10th and 14th July 2017 in Cave B of the School of Arts and Humanities (FLUL). For more information, click here.
July (1st): Launch of Sinais de Cena II.2: This issue was dedicated to Theatrical Genetics, a field largely unexplored at the time by the Portuguese academy. The various theoretical articles, reviews of performances and texts either theatrical in themselves or about the theatre continued to map out the incredible diversity of the contemporary artistic scene. The launch took place on 1st July 2017 at 6 pm in São Luiz Teatro Municipal. For more information, click here.
June (30th) - July (2nd): Theatrical spaces for music in 18th century Europe: CET joined the Centre for 18th Century Portuguese Musical Studies in organizing the international conference: “Theatrical spaces for music in 18th century Europe”. This gathering, held at Queluz Palace, from 30th June to 2nd July 2017, aimed to stimulate multidisciplinary discussion on the specificity and heterogeneity of venues for theatrical events in 18th Europe.
June (22nd): Alfredo Cortez – Profile of a Dramaturge: Commemorating the 70th anniversary of Alfredo Cortez’s death, CET, the National Museum of Theatre and Dance and the author’s family organised the conference, “Alfredo Cortez – Profile of a Dramaturge”, which took place on 22nd June at the National Museum of Theatre and Dance. To consult the programme click here.
June (20th): Theatre in Setúbal – 18th century artists, agents and spaces: In this conference, which took place at the Arquivo Distrital de Setúbal, various researchers from distinct but complementary areas debated aspects of Setúbal’s cultural activity in the 18th century, bringing new knowledge with a view to redefining Setúbal’s artistic scene in the 1700s. For more information, click here. Also visit the conference website.
May (29th) to June (2nd): Pirandello Conference: As part of the initiatives promoted by CET, in partnership with the Lisbon Institute of Italian Culture to celebrate the 150th anniversary of the birth of Luigi Pirandello, this conference took place in the D. Pedro V room, featuring talks by Rita Marnoto, Maria João Almeida and Sebastiana Fadda. There was then a round table with Luís Miguel Cintra, João Mota and Fernando Mora Ramos chaired by Maria João Brilhante. An iconographic and bibliographic exhibition about Pirandello was also held in the FLUL entrance hall, between 29th May and 2nd June. To consult the event programme click here.
May (11th): Pirandello Commemorations: As part of the initiatives promoted by CET, in partnership with the Lisbon Institute of Italian Culture, to celebrate the 150th anniversary of the birth of Luigi Pirandello, Sebastiana Fadda gave a talk on Pirandello’s works. This session was punctuated by readings from Pirandello by the actor, Sergio Rubini. To consult the invitation programme click here.
April (27th): Commemorating the 70th anniversary of “Recital de poesía al sevicio de la verdad: Por la paz de Latinoamérica”: This commemoration was organized by the Centro de História d'Aquém e d'Além-Mar/ Centre for Global History, the Iberian and Ibero-American Studies Group, FSHS (Faculty of Social and Human Sciences) of the New University of Lisbon (UNL)) and the Casa da América Latina, with the support of CET and CEC (FLUL). For more information, click here.
April (20th): Each to his own: at the theatre with the Count of Farrobo: The conference took place in the former private theatre of the Count of Farrobo, today the Teatro Thalia, one of the best known of its time. This gathering debated the most recent results of research on the architectural, social and cultural activity of this 19th century patron. For more information, click here.
April (19th): Mayakovski’s Theatre: cubo-futurism in the text and on stage: This talk was given by Arlete Cavaliere, who presented a plural vision of Russian avant-garde theatre, evaluating the artistic experiences of the Soviet scene in the aftermath of the great hurricane of October 1917. The talk took place at the School of Arts and Humanities (FLUL), room PN1 at 4.15 pm. For more information, click here.
April (17th): Theatre and Migration: Creative Encounters: This workshop and debate, which took place at Rua das Gaivatos 6, focused on migratory flows in the contemporary world, seeking to understand how this situation has reflected and influenced western theatre.
April (10th- 14th): Project P!: 100 years after Almada Negreiros’ futurist conference, Project P!, CET researcher, Ana Pais, coordinated a programme of critical and curatorial thinking based on the question of how performance art can be put together, recreated and participate in the public sphere. For more information, click here.
April (7th): Book launch, Alfredo Cortez by Sebastiana Fadda: The second volume of the collection, “Portuguese Theatre Biographies”, coordinated by Ana Isabel Vasconcelos and Maria João Brilhante, was publicly presented in the main hall of the Teatro Nacional D. Maria II by Fernando Matos Oliveira and the author. The launch included the dramatized reading of excerpts from Cortez’s play, Gladiadores, by Teresa Faria, Luís Lucas, Eurico Lopes and Paulo Pinto. This was followed by the awards ceremony of the Portuguese Association of Theatre Critics (APCT) for 2016.
From March to September 2017: Dramaturgy Laboratory: 4th edition. For more information, click here.
March (27th): Creating and Producing: On World Theatre Day CET (FLUL) and the Mascarenhas-Martins Company organized a meeting on the role of production in the performing arts at Cinema-Teatro Joaquim D'Almeida (Montijo).
December (29th): CET - País Positivo: In keeping with the policy of spreading the knowledge produced at CET beyond the academic sphere, the director of the centre, Maria João Almeida, together with Maria João Brilhante, were interviewed by the periodical País Positivo, discussing CET’s activity and the digital resources, available in open access, created in the last 20 years of this research unit’s existence. To access the interview click here.
December (13th): Launch of Companhia Rey Colaço-Robles Monteiro by Joana d'Eça Leal: The “Portuguese Theatre Biographies” collection was inaugurated with the launch of its first volume, dedicated to the Companhia Rey Colaço-Robles Monteiro, and written by Joana d'Eça Leal. The launch was held in the main hall of the Teatro Nacional D. Maria II and, besides the author and host, Tiago Rodrigues, was also attended by Maria João Brilhante (coordinator of the collection, together with Ana Isabel Vasconcelos) and the director, Nuno Carinhas.
November (24th-25th): International Conference on The Voice on Stage: Taking place in the Auditorium of the Orlando Ribeiro Municipal Library, this conference was organized by Bruno Schiappa, Elisabete Marques, Maria João Almeida and Tânia Valente, with the following invited speakers: Débora Franco, Jorge Matta, José Manuel Araújo, Maria Caçador and Maria José Borges. For more information, click here.
June (30th) to July (1st): International Conference on La littérature et le théâtre de langue Franceise à l'épreuve de la traduction en Péninsule Ibérique (XVIIIe -XXIe siècles): This was a joint initiative between CET (Ana Clara Santos), CEC and APEF.
June (25th): Launch of the magazine Sinais de Cena nº1 (published by Orfeu Negro): Founded in 2004, the magazine Sinais de Cena inaugurated a second series, through edições Orfeu Negro, to be published annually. The first issue was dedicated to “Theatre and Memory” and included texts by, for example, Carol Martin, Joana Craveiro, an interview with Mónica Calle and a tribute to Georg Büchner. Critical essays on productions, along with the thematic dossier and academic articles, continue to define the magazine’s identity.
June (20th - 30th): Open course: Performing Shakespeare: This practical initiation to performing the Bard of Avon was organized and run by Mick Greer.
June (8th - 9th): Creating Dialogues: Performance Art Criticism and the Public Sphere - international conference on theatre criticism: CET organized an international conference on the place of theatre criticism in the public sphere, aiming to stimulate discussion in terms of practice, theorization and cultural policy. Organisation was by Bene Martins, Joana Pajuelo Alves, Maria João Brilhante and Rui Pina Coelho.
April (21st): “One or many Faustos?”: Presentation of the online edition of Fausto by Fernando Pessoa by José Camões and Filipa Freitas, at the Faculty of Arts and Humanities at The Andes University, Colombia, , during the International Meeting, “Fausto, memories, machines and autopsies - Portuguese Literature in The Andes”.
From March to September 2016: Dramaturgy Laboratory: 3rd edition.
February (4th): Talk “Jacques Offenbach in Portugal” by the director and Jewish Studies researcher, Jacobo Kaufmann. This was organized in collaboration with the Centre for Sociology and Musical Aesthetics Studies (CESEM) FCSH of UNL.
November (23rd - 27th): CET at the Science and Technology Week - Three exhibitions: one presenting CET’s history and activity CET (1994-2015); another dedicated to OPSIS – Portugal’s iconographic theatre base, and a third on the Osório Mateus Archive. There were also two open conversations: the first about the digital research resources created by CET and the second about the role of technology in theatre and theatrical creation, as regards its constraints and opportunities.
November (4th): International Meeting Expanded Practices: Choreography/Archive/Publication, organised by Paula Caspão.
September (17th- 18th): International Conference on Theatrical Genetics: Sketches, (Re)writing and Dramatic Transmodalisation, organized by Ana Clara Santos, Ana Isabel Vasconcelos and Elisabete Marques.
June (9th) - July (17th): Open Course on Criminal Justice and the Theatre. Invited Teacher: Kathryn Wylie-Marques (Associate Professor, Dept. Communication and Theatre Arts, John Jay College, City of New York Univ.).
May (21st- 22nd): International Conference on Bulls, Tragedies, Balls and Comedies (18th century), organized by Marta Rosa, Rita Martins and Marta Pacheco Pinto.
May (19th): Dramaturgy Laboratory: Talk by Marcus Mota.
April (20th) - May (13th): Open Course on Radiophonic Theatre: Under Milk Wood by Dylan Thomas, run by Mick Greer.
March (17th): Talk by Sophie Lucet, Rennes Univ. II, Archiver le geste créateur à l'ére du numérique? La fabrique du spectacle.
February (21st): Launch of the magazine Sinais de Cena 22 in the Auditorium of the Cascais Cultural Centre, in Cascais. The launch included pieces by the pianist, Teresa Palma Pereira.
January (30th): In conversation: Teresa Palma Pereira, Teresa d'Azevedo Coutinho, Emília Costa, Catarina Abegão Alves and António Brito Neves with Mário Vieira de Carvalho, Nuno Nabais and Judite Lima. This cultural gathering was co-organised with ARS Originalis (Cultural and Artistic Association).
January (28th - 30th): International Conference on 17th Century Theatre by Portuguese Authors: (un)common places in a restored theatre, organized by José Camões, Bruno Henriques, Filipa Freitas, José Pedro Sousa and Manuel Calderón. This was part of the project PTDC/CLE-LLI/122193/2010 – “17th Century Theatre by Portuguese Authors: a digital library”, financed by the Foundation for Science and Technology. The conference also benefited from the collaboration of the Lisbon City Museum. For more information, click here.
December (12th): Book launch, Com os Séculos nos Olhos: teatro musical e político no Brasil dos anos 1960-1970 by Fernando Marques. This presentation, attended by the author, was by Maria Helena Serôdio.
December (1st - 5th): Theatres of Affect Seminar - Feeling Practices with Erin Hurley (McGill University, Montreal).
March (12th) - December (17th): Arts for April Cycle: 40 Works. Commemorating the 40th anniversary of the 25th April Revolution, CET held a series of sessions presenting 40 works from diverse artistic areas: novels, poems, shows, musical albums, posters, canvases, films and documentaries thematically linked to 25th April. There were 31 sessions: Fantasia Lusitana with João Canijo and chaired by Mário Jorge Torres (12th March); A Noite (José Saramago) with Paulo Sousa Costa and chaired by Rui Pina Coelho (19th March); April Poetry with Gastão Cruz and chaired by António Guerreiro (26th March); April Posters and Murals with Augusto Araújo and chaired by Maria Helena Serôdio (2nd April); Torre Bela with Vítor Louro and José Filipe Costa, chaired by Luís Gameiro (9th April); 1974 (Teatro Meridional) with Miguel Seabra and chaired by Rui Pina Coelho (21st April); O Círculo de Giz Caucasiano (The Caucasian Chalk Circle) (Grupo 4) with João Lourenço and chaired by Vera San Payo de Lemos (22nd April); 25th April 1974 News Reports with Luis Filipe Costa and chaired by Catarina Neves (23rd April); Os dias levantados (The Raised Days) with António Pinho Vargas and Manuel Gusmão, and chaired by Fernando Guerreiro (24th April); Três dedos abaixo do joelho (Mundo Perfeito) with Tiago Rodrigues and chaired by Rui Pina Coelho (30th April); O Terror e Miséria no III Reich | A Missão (The Fear and Misery of the 3rd Reich | The Mission) (Teatro da Cornucópia) with Luís Miguel Cintra and chaired by Maria Helena Serôdio (7th May); Que farei eu com esta espada? (João César Monteiro) with Margarida Gil and chaired by Mário Jorge Torres (14th May); A invenção do amor (Daniel Filipe) with Golgona Anghel, Miguel Manso and Nuno Moura (21st May); Pedro Xavier (Facebook 1974) with Dulce Maria Cardoso, Luís Mário Lopes and Cristina d'Eça Leal (28th May); “Songs of Fighting and Freedom” with Sérgio Godinho and João Calixto (11th June); April Novels (Augusto Abelaira, Carlos de Oliveira and José Cardoso Pires) with Vítor Viçoso and chaired by Fernando Guerreiro (18th June); Casas Pardas (Maria Velho da Costa) with Maria Velho da Costa and Nuno Carinhas, and chaired by José Camões (25th June); Nós somos os Rolling Stones (Teatro Experimental do Porto) with Gonçalo Amorim and Rui Pina Coelho (2nd July); Quando é que a Revolução acabou? with Joana Craveiro and chaired by Gustavo Vicente (24th September); Liberdade, liberdade with Hélder Costa, João Perry, Maria do Céu Guerra and Sérgio Godinho, and chaired by Maria João Brilhante (1st October); A Mãe (The Mother) with José Mário Branco and Pedro Boléo, and chaired by Vera San Payo de Lemos (8th October); Até amanhã, camaradas (Manuel Tiago) with Joaquim Leitão and Mário Avelar, and chaired by Fernando Guerreiro (15th October); Teatro Adoque with Francisco Nicholson, Magda Cardoso and Rui Mendes, and chaired by Maria João Brilhante (22nd October); TV Fiction with Fernando Heitor and Helena Amaral (Conta-me como foi) and Fátima Belo (Depois do adeus), and chaired by Joaquim Franco (29th October); The Plastic Arts (pre- and post-April) with José Luís Porfírio, Paulo Seabra and Pedro Lapa, and chaired by Carlos João Correia (5th November); Costa dos Murmúrios (2004) / Tabu (2012) with Lídia Jorge, Margarida Cardoso and Teresa Madruga, and chaired by Fernando Guerreiro (12th November); April Cinema with Alberto Seixas Santos and João Botelho, and chaired by João Antunes (19th November); DRAMAT (Centre for Contemporary Dramaturgies) with Jorge Louraço Figueira and Maria João Vicente (26th November); Decentralizing Theatre with José Peixoto and Luís Varela, and chaired by Maria João Brilhante (3rd December); ACARTE with Ana Bigotte Vieira and Maria João Brilhante (10th December); Photography before and after April with António Pedro Ferreira and Emília Tavares, and chaired by Filipe Figueiredo (17th December).
October (3rd): Book launch António Pinheiro: um nome para a História do Teatro Português by Luís Gameiro. This presentation, attended by the author, was by Maria Helena Serôdio.
June: Publication of the magazine Sinais de Cena 21 by the Portuguese Association of Theatre Critics.
May (12th): The Body Present: new discourses on the body in the performance arts in Portugal, organized by Gustavo Vicente and Maria João Brilhante.
March (3rd): The Feminine in Theatre, organized by Joana d'Eça Leal, Marta Rosa and Rita Martins.
February (14th): Entremez, comedy and other dialogues in 17th century Portuguese theatre, and the first public presentation, by José Camões, of the 17th century Portuguese theatre project: a digital library (PTDC/CLE-LLI/122193/2010), with the participation of Abraham Madroñal and José Javier Rodríguez on the entremez, and Teresa Araújo and José Pedro Sousa on comedy.
January (7th): Launch of the magazine, Sinais de Cena 20 at the Espaço Pessoa & Companhia, by the Portuguese Association of Theatre Critics.
November (21st to 23rd): International Theatre Conference: Aesthetics and Power organized in collaboration with the Centre for Classical Studies at FLUL.
November (21st): Presentation, by the researchers, José Camões and Mercedes Los Reyes Peña; the architect, Juan de Ruesga and the stage designer, Vicente Palacios, of the video Pátio das Arcas de Lisboa. Virtual reconstruction.
November (20th): Modern and Contemporary Theatre in the Czech Republic, lecture by Petr Christov, from the Faculty of Arts and Literature, Prague University (Czech Republic).
November (6th): Book launch, Financiar o teatro em Portugal: a actuação da Fundação Calouste Gulbenkian (1959-1999) by Maria Helena Serôdio, afterword by Maria João Brilhante.
October (25th): Book launch, Comédias de Sá de Miranda, IN-CM. Presented by the editors Thomas. F. Earle and José Camões. The session included short readings by José Pedro Sousa and Guilherme Filipe.
September (20th): Early 21st Century productions. Creators and new tendencies, lecture by José Gabriel López Antuñano, from the Castile and Leon School of Dramatic Art and at the Complutense Univ., Madrid
September: Publication of Palco da ilusão. Ilusão teatral no teatro europeu, the inaugural volume of the Entr'acte collection: études de théâtre et performance, Éditions Le Manuscript.
July (18th): Launch of the magazine, Sinais de Cena 19 at the Sá da Costa bookshop, by the Portuguese Association of Theatre Critics.
May (29th): A Máscara, lecture by Carlos Gouveia-Melo from Teatro Doce – International University of the Third Age theatre group.
May (16th): “So short a life for so great a love. Gil Vicente in my life”, lecture by Cleonice Berardinelli, at the invitation of CET and the Centre of Lusophone and European Literature and Culture at FLUL.
May (15th and 22nd): “Meeting António José da Silva: in the text and on stage”, organized by Carlos Gontijo with the participation of Maria João Brilhante (CET-FLUL), Isabel Pinto (CET-FLUL), Guilherme Filipe (Actor/ CET-FLUL) and Sara Henriques (Actress Teatro Marionetas do Porto).
May (14th): 18th century Theatre in Portugal: intricacies, industry, products, meeting organized by Isabel Pinto, Ana Rita Martins and Marta Rosa, with papers by Mário Vieira de Carvalho (Communication Systems of 18th century opera: a sociological perspective); Maria João Almeida (Chiari on stage and in the Portuguese press); Carlos Rosa (Emulation in António José da Silva, O Judeu (The Jew)); Filipa Freitas (The image of the Poet in the 18th century); Marta Rosa (António José de Paula in the 18th century scene); Rita Martins (João Gomes Varela – from the pharmacy to the Opera House); Pedro Januário, Mário Say Ming Kong and Maria João Pereira Neto (Italian scenography in 18th century Portugal: the innovative testimony of the Galli Bibiena); José Camões (Arca with arca: humanities and technology in the virtual reconstruction project for Pátio das Arcas in Lisbon); Licinia Ferreira (Teatro da Rua dos Condes: the centre of Lisbon’s 18th century theatrical activity); and João Luís Lisboa (Theatre for readers – in the second half of the 18th century). Projection of the video Quixote – Ópera Bufa (2010) by Teatro O Bando.
May (13th to 17th): Gil Vicente, bibliographic exhibition at the School of Arts and Humanities (FLUL), on the occasion of Cleonice Berardinelli’s visit.
May (12th and 13th): International Conference on Conversations with Diderot, co-organization with the Centre for the History of Culture (FCSH-UNL).
May (3rd and 7th): The poetics of Postmodernity and the (im)possibilities of criticism and Theatre Politics and Political Theatre in the Age of Depression, lectures by Savas Patsalidis for the Aristotle University (Thessaloniki), Greece.
February - May: Shakespeare on Film Cycle, with the screening of: Prospero's Books by Peter Greenaway, Othello by Orson Welles; Looking for Richard by Al Pacino; Romeo + Juliet by Baz Luhrman; Ophelia by Claude Chabrol; Throne of Blood (Macbeth) by Akira Kurosawa; The Merchant of Venice by Michael Radford and A Midsummer Night's Dream by William Dieterle and Max Reinhardt.
January (11th): Launch of the magazine, Sinais de Cena 18 in the Sá da Costa bookshop, by the Portuguese Association of Theatre Critics.
December (10th- 12th): International Conference on Jean-Jacques Rousseau: the Man, the Work and the Thought organized in collaboration with the Centre for Philosophy and the Centre for Comparative Studies at the School of Arts and Humanities (FLUL).
November: The Fascination of Opsis – when photography meets theatre, organized by Filipe Figueiredo and including the Month of Photography organized by the Fábrica do Braço de Prata with collective exhibition, a roundtable, book launches and the presentation of OPSIS project and its respective site.
October (30th): Copilaçam de todalas obras de Gil Vicente - 450 anos with papers by José Augusto Cardoso Bernardes (“More Questions for Gil Vicente”), Thomas Earl (“The rustic, the courtier and the hermit in the Autos de Inês Pereira”) and José Camões (“Gil Vicente recompiled”).
October (22nd-26th): Diving into a Process, a workshop with André Lepecki and Vera Mantero, organized in collaboration with the Theatre Studies Programme.
October (19th): Culture and Subjectivity in Acts of Translation, lecture by Maria de Lourdes Rabetti from UNIRIO, Brazil.
May (18th): Conference on Contemporary Theatre: Between De- and Re-Dramatization with papers by Christine Zurbach, Maria Carneiro, Didier Plassard, Andreia Dias Marques, Alexandre Pieroni Calado, Tales Frey and Carole Guidicelli. Conference held with the support of the PROSPERO Project and the CCB.
April (20th): 20th Century Polish Theatre: From Grotowski and Kantor to Lupa and Warlikowski, lecture by Larisa Turea.
March (19th): Book launch Por s'entender bem a letra: homage to Stephen Reckert, at the Lisbon Science Academy.
March (6th- 8th): Conference: Meeting Brazilian Dramaturgy with papers by Maria Helena Werneck (UNIRIO) and Paulo de Moraes (Armazém Companhia de Teatro). Screening of filmed performances, directed by Paulo de Moraes, of A Inveja dos Anjos and Antes da Coisa Toda Começar and rehearsed readings, with conceived and directed by Natália Luiza, of A Serpente by Nelson Rodrigues, Agreste by Newton Moreno, Dilacerado by Daniela Pereira de Carvalho, Rasga Coração and Mão na Luva by Oduvaldo Vianna Filho.
March (2nd): On the Complexity of “Oxen of the Sun” (Episode 12, Ulysses by James Joyce), lecture by Sam Slote (Trinity College).
February - April: Seminar on Modern Theatre Production Practices: from script to performance with Thomas G. Hines and various invited guests.
November (28th): Contemporary French Dramaturgy, lecture by Sophie Lucet (Caen Univ.).
September (16th): Post-Dramatic Theatre: 12 years later, lecture by Hans-Thies Lehman (Frankfurt Univ.), with the support of the Goethe Institut.
July (2nd and 4th): International Conference on Rethinking Theatre | Bearing Witness to History | Invoking the Dead in the ambit of the Science of the Performing Arts course: 21st century interpellations. In addition to lectures by Jacques Delcuvellerie and Marie-France Collard at FLUL, the conference included - in the small auditorium of Culturgest – the screening of the film, Rwanda: à travers nous, l'humanité. Based on the play, Rwanda 94, by the Belgian company GROUPOV and directed by Jacques Delcuvellerie, the film is a documentary by Marie-France Collard about the play touring in Rwanda, ten years after the genocide.
February (16th- 18th): International Conference on Images of an Absence – Ways of Recognising Theatre through the Image. Maria João Brilhante (FLUL) presented the OPSIS project and Paula Magalhães and Filipe Figueiredo demonstrated the online platform OPSIS Base. The invited speakers were Sandra Pietrini (Trento Univ., Italy) with “L'imaginaire theatrale dans l'iconographie: de la realité de la scène au royaume du possible” and John Kulvicki (Dartmouth College, Hanover, NH, USA), “Imaging Performance”. They were also papers by: Pedro Soares, “Photographic scenes: testimonies of miracles”; José Carlos Alvarez and Paulo Baptista (National Museum of Theatre and Dance) “From the Stage to the Studio: the photographic portrait and the performing arts” (1918-1939); Maria Virgílio Cambraia Lopes, “The Portrait and Humorous Drawings: Interlacings and Complicities”; José Camões, “Opsis verbis – The Portrait of António José de Paula”; Maria Carneiro, “Archive and collections of images from the past, present and future – the case of the Resource Centre of the Centre for Performance Research”; Bruno Schiappa, The Whole from the Part(s) – ‘synecdoche’ in Theatre Iconography; Rui Teigão, “A Genetic Reading of Images from the production, Ifigénia na Táurida [Iphigenia at Taurus]”; Eunice Gonçalves Duarte, “Low Tech Experience: the aesthetics of the low tech image in the digital performance, A História é Clandestina”; Tiago Porteiro, “Case Study: photography serving the actor; a way to prolong the body’s experiences on stage”. As part of the conference, there was also a workshop on stage photography, run by Pedro Soares, with photographs from the session presented at the close of the event.
December (17th): A Business and Its Secrets: Companhia Maria Della Costa (1948-1974), lecture by Tânia Ribeiro (UNIRIO).
November (23rd): Launch of Limiar, a play by João Silva, published by Cavalo de Ferro.
November (22nd): Organization, in collaboration with the Institute of Medieval Studies at FCSH, of the meeting, “Literary and Linguistic Heritage: electronic editions and the construction of textual databases”. This meeting, which took place at the National Library, brought together the Portuguese teams working in this area and enabled an exchange of experiences and a joint and wide-ranging reflection on common problems, some more generic and others of a more technical nature.
The following projects were presented: “Electronic Edition of the Loyal Counsellor” by João Dionísio (FLUL); Almada Negreiros by Fernando Cabral Martins (FCSH); “CELGA Electronic Corpus – from the Classical Portuguese Period” by Evelina Verdelho (FLUC); “Andrès de Poza” by Santiago Pérez (researcher at Deusto Univ., Bilbao); “16th Century Theatre by Portuguese Authors” and “Documents for the History of Theatre in Portugal” by José Camões (CET); “Littera, Trovadores Galego-Portugueses” by Graça Videira Lopes (FCSH); “Medieval Portuguese Digitalised Corpus” by Maria Francisca Xavier (FCSH); Portuguese Lexicographic Corpus” by Telmo Verdelho (UA); and “The State of the Question in the Anglo-Saxon World” by Manuel Portela (CLP-FLUC).
November (5th): International Conference on Classics at the National Theatre: uses of the canon, with the aim of reflecting on the transmission of theatre classics on three fundamental fronts: education, performance and edition. With the participation of Jean-Pierre Ryngaert (New Sorbonne University Paris 3), “Renouveler le regard”; Abraham Madroñal (Spanish National Research Council (CSIC)), “Las ediciones de clásicos teatrales en la actualidad”; Evangelina Rodríguez (Valencia Univ.), “La transmisión de la memoria de los clásicos en la educación”; Anna Scannapieco (Ca' Foscari Univ., Venice), “Il teatro goldoniano: un best-seller dell'editoria settecentesca” and José Augusto Cardoso Bernardes (Coimbra Univ.), “Gil Vicente at the National Theatre: 2000, 2009, 2010”.
The session on performing the classics and cultural policies included contributions from Nuno Carinhas (Teatro Nacional São João) and Ana Zamora (Compañía Nao d'Amores). The meeting ended with a roundtable in which Álvaro Correia, Hélder Wasterlein, José Mascarenhas, José Peixoto, Maria do Céu Guerra, Maria Emília Correia, Rui Pina Coelho and Silvina Pereira participated.
October (27th): Conversations with Guillermo Heras - Guillermo Heras in conversation chaired by Jorge Silva Melo: Spanish Theatres. The theatre that is written (regarding the Portuguese editions of Juan Mayorga, Benet i Jornet, Fernandez Lera and Luisa Cunillé), the theatre that is written on stage (referring to Rodrigo García or Angelica Lidell). The current surge in Latin America theatre (Spregelbund, Veronese... and so many more).
October (1st- 2nd): Collaboration with the Portuguesa Associação of French Studies in organising the conference in homage to the French writer, philosopher and dramaturge Albert Camus, “Albert Camus: cinquante ans après / Albert Camus, fifty years later.
July (5th): Participation in the Science 2010 Meeting (FCT) – “Meeting Science and Technology in Portugal” - with the paper “Technology and Theatre: recovering the past, creating the future” by Maria Helena Serôdio.
June (11th): Lecture on “The Work of Jorge Andrade and His Presence on Lisbon Stages” by Elisabeth Azevedo (São Paulo Univ., Brazil).
May (21st): Debate on Black Watch by the National Theatre of Scotland, with the participation of Mark Brown (Sunday Herald and Daily Telegraph theatre critic and Professor of Theatre Studies at Strathclyde Univ. and the Academy of Music and Drama).
May (20th): Organization of the Open Day, welcoming students from the Secondary School Passos Manuel, and the António Arroio Secondary Arts School and the Grupo Cena Múltipla. The visitors were welcomed by Maria João Almeida, Director of CET, various researchers, who presented their ongoing projects.
Fernando Guerreiro presented the Performing Arts degree, which he directs, and Maria Helena Serôdio spoke about post-graduate courses in Theatre Studies. Denise Moura, responsible for External Relations at FLUL, explained the international student exchange programme and Maria Carneiro told the visitors about her experience as a student in her 3rd year of the Performing Arts degree. The visitors were then given a guided tour of the Library by Fernanda Santos and Isabel Rebolho.
The Open Day was brought to a close by actor and researcher Guilherme Filipe, MA in Theatre Studies from FLUL and PhD candidate in the same field, also at FLUL.
May (16th): At the Teatro Nacional D. Maria II, on Miserere and Breve Sumário da História de Deus, José Camões discussed directing Gil Vicente’s religious plays nowadays with Luís Miguel Cintra, Nuno Carinhas and the Miserere artistic team.
May (14th): Screening of BLACK WATCH by the National Theatre of Scotland, at FLUL.
April (29th) to May (27th): Collaboration by CET in the study cycle, “The History of Culture and the Arts: an obstacle and a challenge”, organized by the António Arroio Secondary Arts School as part of teacher training in the History of Culture and the Arts, including the sessions “Greek Theatre and Aeschylus’ tragedy, The Persians” (José Pedro Serra) , “Cinema Culture: Charlot’s [Chaplin’s] Biography” (Fernando Guerreiro and Mário Jorge Torres); “Palace Culture: Gil Vicente and the Auto da Lusitânia” (José Camões), “Le Bourgeois Gentilhomme by Molière and Lully” (João Nuno Sales Machado).
April (15th) to June (30th): Collaboration by João Nuno Sales Machado on researching and producing material for “Gil Vicente in the 1st Row” – an exhibition organised by TNDMII to highlight the costumes designed by Almada Negreiros for the Auto da Alma and, through interactive technological means, play recordings of excerpts from his autos and images of shows and documents that have come down to us.
March (26th) and April (16th): “100 Years After – FUTURISM”, organized in collaboration with the ICI—Institute of Italian Culture at FLUL. The event included the following papers: “Futuristi alla ribalta: dal ginocchio in giù” by Alessandro Tinterri; “Is there only one declared futurist in Portugal?” by Rui Mário Gonçalves; “Futurism: Definition, the 'Manifesto' Institution and the 21st Century that is just beginning” by Carlos Vidal; “The Heteronym Machine and the Aviator Artist: a brief history of Portuguese Futurism” by Fernando Cabral Martins; “Futurism and Cinema” by Fernando Guerreiro and Conversa Acabada by João Botelho.
March (26th): Documents for the History of Theatre: an international conference in which the following papers were presented: “Our changing ‘Republic of Letters’: Scholarship yesterday and today” by Thomas Postlewait (Washington Univ.); “Crossed Views on Luso-Brazilian Performing Arts at the End of the Former Regime: The Testimony of Foreigners” by Rui Vieira Nery (INET-MD / CET); “Hazlitt’s Criticism of 18th century Neoclassical acting theories” by Manabu Noda (Tokyo Univ.); “Censorship at the Table: menus from books or the well-seasoned History of Theatre in Portugal” by José Camões (CET, Lisbon Univ.); “Assessment Criteria for Theatre at the Real Mesa Censória” by Filipa Freitas (CET-PTDC/HAH/72397/2006); “Digressions on good and bad taste in 18th Century theatre” by Rita Martins (CET-PTDC/HAH/72397/2006); “Companhia Cómica Inglesa in 18th century Lisbon” by Maria João Almeida (CET / FLUL, Lisbon Univ. ); “Theatre and Nationalism in the 18th and 19th centuries” by Steve Wilmer (Trinity College, Dublin); and a final debate chaired by Maria Helena Serôdio (CET / FLUL, Lisbon Univ. ).
February (5th- 6th): Theatre and Images, a Meeting regarding the OPSIS project –Iconographic Theatre Base. The following papers were presented: “Ut Pictura Theatrum: rhetoric, narration and theatricality in Portuguese painting from the 16th to the 18th centuries” by Vítor Serrão; “Eleonora Duse in Lisbon: iconographic traces” by Maria Virgílio Lopes; “Cover pages of 16th century Editions of Plays” by João Nuno Sales Machado; “Reflections on the Beginnings of Theatre Photography in Portugal” by Filipe Figueiredo; “Introduction to Studies on the Teatro D. Pedro V in Macau” by Daniel Rosa; “Images for a History of Théâtre de la foire in Portugal by Paula Magalhães; “Image: memory and instrument” by Luís Soares Carneiro; “Les portraits des actrices de la Commedia dell'Arte: recherches récentes et problèmes de méthode by Inês Aliverti e Méthodologie et critiques des sources iconographiques: quelques exemples” by Renzo Guardenti. There was also a roundtable, chaired by Maria João Brilhante, under the theme, “Views of the Theatre: from the Director’s Vision to the Photographer’s Image”, with the directors João Brites and Jorge Silva Melo, and the photographers Pedro Soares, José Marques, Jorge Gonçalves and Susana Paiva.
December (14th): Presentation of the HTPonline Project | Documents for the History of Theatre in Portugal
December (9th- 11th): Organization of the International Conference, “Paths in Theatre Genetics: from the writing laboratory to the stage”. The following papers were presented: “Génétique théâtrale. Interrogations, mises en ordre, perspectives” by Jean-Marie Thomasseau (Vincennes Saint Denis Univ. Paris 8, France); “Traces et tracés de l'écriture: pour une approche génétique du texte dramatique contemporain” by Yves Jubinville (Uqam School of Theatre, Canada); “Illuminating the word to reveal it on stage: based on the Teatro O Bando path” by João Brites (Director). There were also the following talks: “Penser la rature en génétique de la mise-en-scène” by Florent Siaud (E.N.S. de Lyon, France); “Vers une génétique scénique: noter la mise-en-scène théâtrale” by Fahd Kaghat (Fez Univ., Morocco); “L'oeuvre théâtrale d'André Engel: machine et rhizome” by Véronique Perruchon (Lyon Univ. 2, France); “Evil as the genesis of Drama” by Mickael de Oliveira (PhD candidate FCT/ FL, Lisbon Univ., Portugal); “De La verdad sospechosa a Il bugiardo: rastro de los personajes femeninos alarconianos en las obras francesas e italianas sobre mentirosos” by Estela García Galindo (Autónoma Metropolitana Univ., Mexico); “A Multimodal Theatre. The heterogeneity of melodrama in Portugal” by Daniela Di Pasquale (CEC/FL, Lisbon Univ., Portugal); “L'étude génétique du texte dramatique: vers la source ou le prolongement du texte? Le parcours singulier de l'auteur, auto traducteur et metteur en scène”, Samuel Beckett by Nadia Louar (Wisconsin Oshkosh Univ., USA); “Le Caligula d'Albert Camus et ses vingt années de gestation” by Sophie Bastien (Royal Military College, Canada); “La genèse dramatique de Sagramor d'Eugénio de Castro (d'après une édition critique en cours)” by Maria de Jesus Cabral (FCT/ Coimbra Univ., Portugal); “Dramaturgy and translation in writing texts for the stage: experiments by Companhia de Encenação Teatral, from Rio de Janeiro” by Maria de Lourdes Rabetti (Federal University of the State of Rio de Janeiro, Brazil); “Genèse (non) accidentelle d'un saint: les dessins de Dario Fo dans la conception du monologue Lu Santo Jullàre Francesco” by Federica Tummillo (GERCI, Stendhal Grenoble Univ. 3, France); “Le théâtre de Félix Guattari: une genèse dramatique à partir de son oeuvre philosophique” by Flore Garcin-Marrou (CRHT/ Sorbonne Univ., Paris IV, France); “Give way to God instead of goodbye: host or first generation theandry” by José Manuel Martins (Évora Univ., Portugal); “‘Traduction et adaptation de...’-‘Traduzione e adattamento di...’. Entre mise-en-scène virtuelle et mise-en-scène réelle, le traducteur comme co-créateur” by Marie-Line Zucchiatti (SSLMIT – Bologna Univ., Italy); “La reprise d'un spectacle by Sophie Proust” (CEAC, Univ. de Lille 3, ARIAS/CNRS, France); “Antoine Vitez répète Lucrèce Borgia: genèse de la scène 1 de l'acte III” by Johannes Landis (Gaston-Fébus d'Orthez Secondary School, France); Évolution d'une pièce composée à deux: Le Tremblement de terre de la Martinique de Lafont et Desnoyer (1840)” by Barbara T. Cooper (New Hampshire Univ., USA); “How do you register the creative process in the production of Ifigénia na Táurida [Iphigenia at Taurus], at Teatro da Cornucópia?” by Rui Teigão (Master’s candidate at CET/FLUL, Portugal); “O Avarento [The Miser] de José Maria Vieira Mendes (2007): réécriture et création dramatique” by Marie-Noëlle Ciccia (Paul-Valéry-Montpellier Univ. III, France); “The Brilliance of Bareness. L'avare [The Miser] de Molière, according to Rogério de Carvalho (TNSD, 2009)” by Cristina Marinho (CETUP/ FL, Porto Univ., Portugal); “In Praise of Translation: Contemporary Dialogues with French Classical Dramaturgy” by Ana Alexandra Seabra de Carvalho (CELL/Algarve Univ., Portugal); “Autour d'une mère de Jean-Louis Barrault: des documents d'archives à l'avant-texte scénique” by Marcio Müller (PhD candidate, Paris Univ. 8, France); “Une action par trop vigoureuse: l'écriture et la réécriture de Pyracmond ou les Créoles” by Michelle Cheyne (Massachussetts-Dartmouth Univ., USA); Le personnage-palimpseste ou les strates de désignation: la nécessité d'une étude génétique des personnages d'Abraham Lincoln va au théâtre de Larry Tremblay” by Pauline Bouchet (School of Letters and Human Sciences, Lyon, France); “Great Migrations. Concerning the novel The Great Gatsby (1926) by F. Scott Fitzgerald, the film The Great Gatsby by Jack Clayton (1974) and the play, Gatz by the Elevator Repair Service (2006)” by Rui Pina Coelho (CET, Lisbon School of Theatre and Cinema, Portugal); “Jeux et enjeux d'une (libre) adaptation d'un fabliau médiéval: une expérience de théâtre étudiant/amateur en Jordanie” by Isabelle Bernard (Jordan Univ., Jordan) & Waël Rabadi, (Al-Albayt de Mafraq Univ., Jordan); “De l'usage des Machabées, du modèle à la tragédie satirique” by Anne-Marie Le Baillif (Paris Est Univ., France); “Dramatisation de l'épopée latine et médiévale dans le théâtre Franceis du début du XVIIe siècle” by Dora Leontaridou (Athens Univ., Greece); “Genèse scénique à partir d'un roman vernien: La pièce Le Tour du Monde en quatre-vingt jours (1874)” by Sylvie Roques (Centre Edgar Morin – EHESS-CNRS –d'Evry Univ., France); “L'adaptation de Thérèse Raquin à la scène en France et au Portugal” by Lígia Cipriano & Ana Clara Santos (CET/FLUL, Algarve Univ., Portugal); “The Theatricalisation of Os Sertões [Rebellion in the Backlands] by Euclides da Cunha” by José da Costa Filho (Federal University of the State of Rio de Janeiro, Brazil); “L'adaptation théâtrale des Frères Karamazov, ou la matérialisation scénique d'un rêve” by Véronique Bontemps (D'Artois Univ., France); “Du roman d'Hölderlin Hypérion ou l'Ermite de Grèce à la mise-en-scène de Winterreise in Olympiastadion par Klaus Michael Grüber” by Gaëlle Maidon (E.N.S.A./HAR, Paris Ouest Univ., France); “Active forms of complicity and genealogical crossings in the creation of a show: O menino e o mar by Teatroesfera by Teresa Faria (CET/FLUL, Portugal); “Le rôle de l'éditeur de théâtre dans la génétique du texte dramatique. Actualité d'un champ de force: liberté auctoriale vs lecture universelle” by Pierre Banos (Dir-adj. éd. Théâtrales/ Équipe RETC, Paris Ouest Univ. Nanterre, France); “Documental & Autobiographical: pathways through artistic discourses” by Mónica Guerreiro (PhD candidate, FCSH-UNL, Portugal); “La génétique assistée par ordinateur; Drama: le cahier de scène numérique” by Monique Martinez Thomas & Bruno Péran (Toulouse Univ., France).
November (27th): “Contemporary Brazilian Theatre: the Body and Stage Politics”, lecture by José da Costa (Federal University of the State of Rio de Janeiro – UNIRIO).
July (14th): Participation of Vera San Payo de Lemos in the session Quatro Cegos by Jaime Rocha, as part of the theatre initiative... “at the bulhosa”, organized by the Bulhosa Bookshop in collaboration with Teatro Maizum.
July (12th - 18th): Organization and hosting of the 52nd IFTR Congress - International Federation for Theatre Research – with the theme of Silenced Voices / Forbidden Lives: Censorship and Performance.
April (23rd): Organization of the Open Day for 11th year students from the Performance course at the Gil Vicente Secondary School in Lisbon. After being welcomed (by Sebastiana Fadda), there was a brief introduction to CET (by Maria João Almeida), the Performing Arts degree (by Ana Paula Laborinho) and post-graduate courses in Theatre Studies (by Maria Helena Serôdio). Jorge Gonçalves (actor in Teatro Aberto and Master in Theatre Studies from FLUL then talked about his experiences at FLUL). Denise Moura, responsible for External Relations at FLUL, explained the international student exchange programme and Maria Carneiro told the visitors about her experience as a student in her 3rd year of the Performing Arts degree. The visitors were then given a guided tour of the Library by Fernanda Santos and Isabel Rebolho and of CET, where researchers presented their ongoing research projects.
March (23rd) to April (8th): Organization of the Series of Lectures: “Cinema. Concerts and Exhibition. Poetics of Rock in Portugal, Critical Perspectives on a Minor Literature.”
April (8th): Papers by various speakers, including: Luís Trindade, “Sai prá Rua”; Rui Pina Coelho, “From the garage of adolescence to the post-modern supermarket”; Luís Filipe Cristóvão, “Divine Intervention in Portuguese Rock – a path from punk to poetry”; André Simões, “A raposa”; Rita Grácio and Cristina Néry “I sing the body electric”: dysphonia of the beat and silence as a literary music sheet; Emanuel Amorim, “Portuguese Rap: The freedom of those who make themselves heard”; Piroska Felkai, “Is it easy to (re)understand? The alternative tone of The Gift and their artistic manifestations in Portuguese music”; Filipa Teles, “Views of Pop Music in Portugal”; Fernando Guerreiro, “From Bar da Morgue to Turbina e Moça: Rui Reininho’s futuro-dada cabaret-circus”; Vitorino Almeida Ventura, “Lyrics as Poetry”; Golgona Anghel, “Belle Chase Hotel – against destiny, against the main character, syncopation”.
Roundtable: “Rock in the Arts”, with invited speakers João Pedro Rodrigues, Tiago Guillul, João Garcia Miguel, Paulo Furtado, Armando Teixeira, Manuel João Vieira, Manuel Mozos and Luís Futre; chaired by Mário Jorge Torres
April (7th): Papers by Michka Assayas, “La possession par les voix”; Isabel Ermida, “The nonsense that makes sense(s): neologisms and puns in Rui Reininho”; Pedro Félix Ulisses, “The Academy and Xutos & Pontapés: the place of “song lyrics” in the study of “popular music”; Eduardo Jorge de Oliveira, “Distorting the canon”; Susana Chicó, “SAGA. Ópera extravagante: Improbable Meetings”; Raquel Guerra, “Mão Morta and Maldoror or Playground Chants in a Poem”; Bruno Béu, “A Certain Intriguing Transmorphism and Belle Rue in Pop dell'Arte”; Rita Bénis, “The 80s and the Rock Rendez Vous ‘musical tribes’; António Alías, “‘A Glória será não esquecer.’ The Portuguese Event Becoming - Joy Division, Duarte Braga, Sétima Legião and the Mythopoetics of Portuguese Culture”; Marisa Mourinha, “Os Filhos de Rimbaud – inheritances, baggage, travel – from Charlevile to Lisbon.”
Roundtable: Rock and Literature, with the following invited speakers: JP Simões, Fernando Ribeiro, Adolfo Luxúria Canibal, Jorge Ferraz and Gonçalo Tocha; chaired by Patrícia Leal and Fernando Pinto do Amaral.
April (6th): Papers by Greil Marcus, “Digging Up the Ground: Bob Dylan On and Off the Page”; Américo António Lindeza Diogo, “Rock, New Wave, Post-Punk in Portuguese: songs between lyrics and poetry”; Osvaldo Silvestre, “The ‘Mother Tongue’ in rock: in a peripheral position like Portuguese; Alexandre Felipe Fiuza, “On the Margins of Rock: state censorship and the Portuguese popular song”; João Carlos Callixto, “Rock Transversalities in the Works of José Cid (1966-1979)”; Jorge Louraço, “Fictions in three stanzas: the theatre songs of Carlos Tê”; Natália Maria Lopes Nunes, “Jorge Palma – The Myth of a Generation?”; Ana Bigotte Vieira and Pedro Cerejo, “What about the future?”; Gonçalo Zagalo and João Diogo Zagalo “Na pandra bomba ainda jinga a hidra samba” – Mler Ife Dadas’ syntactical revolution” .
March (31st): Inauguration of the Exhibition “At the Time of the Turntable: A Journey through Portuguese Phonographic Production 1960-1980”, including a guided tour led by Rui Nunes, António Tilly and João Carlos Callixto.
March (26th): Screening of the film of The Cramps, Live at Napa Mental Hospital by
Joe Rees (1978); and Andy Warhol’s, The Velvet Underground & Nico (1966).
March (25th): Screening of Dennis Hopper’s Out of the Blue (1981).
March (24th): Screening of Barbet Schroeder’s More (1969, with music by Pink Floyd).
March (23rd): Screening of Jean-Luc Godard’s, Sympathy for the Devil (1968, with The Rolling Stones).
November (20th- 22nd): Organization, with the Centre for Linguistics, of the 5th International Conference of the European Society for Textual Scholarship, entitled PRIVATE. DO (NOT) ENTER... Personal Writings and Textual Scholarship. The following papers were presented: “From Print to Script” by Ivo Castro (Lisbon Univ.); “Authors, moral rights and readers’ interests: conflicts in the exploration of literary archives” by Alison Firth (Newcastle Univ.); “How many diaries did Anne Frank write: 1, 2, 3 or 4?” by David Barnouw (Netherlands Institute of War Documentation, Amsterdam) and “Private Writings, Public Texts” by Francisco M. Gimeno Blay (Valencia Univ.). There were also the following talks: “Transmutation of textual origins: from Darwin’s ‘secret’ notebooks to Beckett's ‘decreationism’” by Dirk Van Hulle (Antwerp Univ.); Pessoa's Notebooks by Jerónimo Pizarro (Centre for Linguistics, Lisbon Univ.); “W. B. Yeats’s “Rapallo” Notebooks: Private Writing and the Creative Process” by Wim Van Mierlo (London Univ.); “The Private Life of Ballad Manuscripts” by David Atkinson (Elphinstone Institute, Aberdeen Univ.); “Inclusive ways of making critical editions” by Rita Marquilhas (Lisbon Univ.); “Letters as mediators between private and public space” by Marita Mathijsen (Amsterdam Univ.); “A textual poetics for electronic fragments” by Manuel Portela (Coimbra Univ.); “Jonson’s private philosophical papers” by Mark Bland (De Montfort Univ., Leicester); “From the private to the public: Bordalo Pinheiro’s correspondence in text and images” by M.ª Virgílio Lopes (CET, Lisbon Univ.); “Licensed to sneak: why we should read writers’ secret diaries and unsent letters” (Virginie Loveling’s diary; Karel Van de Woestijne’s correspondence) by Bert Van Raemdonck (Centre for Scholarly Editing and Document Studies / Ghent Univ.); “Very, very personal writings. The notebooks of Ernst Meister by Jan Gielkens” (Huygens Instituut, Den Haag); “Private writings for public use: Stefanelo Botarga’s theatrical notebooks” by María del Valle Ojeda Calvo (Ca' Foscari Univ., Venice); “Space as Sign. Material aspects of letters and diaries and their editorial representation” by Rüdiger Nutt-Kofoth (Goethe-Wörterbuch, Hamburg/Wuppertal Univ.); “The ‘I’ in the dossiers préparatoires of Zola” by Kelly Basílio (Lisbon Goethe-Wörterbuch, Hamburg); “Haec subtilis ars inveniendi: considerations of João Penha's literary archive” by Elsa Pereira (Porto Univ.); “Variant versions of letters from Italy to King Afonso V of Portugal by Harvey L. Sharrer” (California Univ., Santa Barbara); “On Angelo Colocci’s Crosses” by Rip Cohen (Johns Hopkins Univ.); “Written in prison: reflections on some writings by the Marquis of Alorna” by Vanda Anastácio (Lisbon Univ.); “Is it permissible to publish them? On the edition of four evangelical texts of Murilo Mendes” by Ugo Serani (Aldo Moro Univ., Bari); “Hand-written Lithuanian books during the period of banning the Lithuanian press (1864–1904)” by Mikas Vaicekauskas (Institute of Lithuanian Literature and Folklore Vilnius, Lithuania); “It is true that they wrote it” by Ángel Rodríguez Gallardo (Vigo Univ. /Lisbon Univ.); “Particularly public and very private” by Paulius V. Subačius (Vilnius Univ.); “‘Reconstructing silences’. On the study and edition of private letters by the Spanish children evacuated to Russia during the Spanish Civil War” by Verónica Sierra Blas (Alcalá-SIECE Univ.-Grupo LEA); “The diplomatic correspondence written by Garrett: between the public and the private letter” by Duarte Ivo Cruz (Lisbon Theatre and Film School, Portugal) / Ana Isabel Vasconcelos (U. Aberta, Lisbon); “Hipólito da Costa’s journal” by Tania Dias (Rui Barbosa House Foundation, Rio de Janeiro); “Harry Count Kessler’s Diary” by Roland Kamzelak (German Literature Archive, Marbach).
May (20th) to June (20th): Exhibition, “What is Theatre?” at the Library Entrance Hall
May (20th): Organization of the Open Day, focusing on secondary and professional school students. During the day, ongoing CET research projects were presented to the visitors and there was a discussion with Miguel Castro Caldas on “reading and writing theatre”.
May (19th): Organization, with the Centre for Classical Studies, of sessions on Greek Tragedy: receptions and rewritings. In the first – Tragedy on Stage Today – Freddy Decreus (Ghent Univ.) talked on “The Reptilian Brain and the Representation of the Female in the Productions of Theodoros Terzopoulos”; the second – Essays on tragedy and the tragic – had José Pedro Moreira (Centre for Classical Studies) discussing “Some translation and interpretation issues in the parodos of Aeschylus’ Agamemnon”; Sofia Isabel Frade (Department of Classical Studies / Centre for Classical Studies), “Lyricism by the metre or a new Euripidean aesthetic? The Choral Odes in The Phoenician Women”; Leontina Luís (Master in Theatre Studies), “Tragedy on Stage: Mourning becomes Electra. Teatro Nacional D. Maria II” and Tatjana Manojlovic (PhD candidate in Theatre Studies), “Medea’s love: Hélia Correia’s Desmesura. Exercise on Medea (2006)”.
April (17th and 19th): Lecture by Mercedes de los Reyes Peña “Lugares de representación en la España barroca: corrales y coliseos”.
April (15th): Lecture by Luigi Giuliani “Senecan tradition and Italian background in the European Renaissance Tragedies”.
April (12th): Lecture by Luigi Giuliani “Manuscript transmission in Spanish Golden Age Theatre: the case of Lupercio Leonardo de Argensola’s tragedies”.
February (8th): Theatre on Video: showing Le baruffe chiozzotte [Brawling in Chioggia] (1966), directed by Giorgio Strehler, with Tino Scotti, Lina Volonghi and Carla Gravina.
February (7th): Theatre on Video: showing La Locandiera [The Mistress of the Inn] (1986), directed by Giancarlo Cobelli, with Carla Gravina and Pino Micol.
February (6th): Theatre on Video: showing Arlecchino servitore di due padroni [The Servant of Two Masters] (1993), directed by Giorgio Strehler, with Ferruccio Soleri and Andrea Jonasson.
February (4th): Talk by Sebastiana Fadda on “The Theatre of Carlo Goldoni, Venetian Lawyer”, followed by the film Mémoires (2006), directed by Maurizio Scaparro and based on Carlo Goldoni’s autobiography.
February (4th- 9th): Exhibition in the FLUL entrance hall on the life and work of Carlo Goldoni, organised by the Lisbon School of Theatre and Cinema.
February (2nd) to March (14th): Bibliographic exhibition of theatre works from the FLUL Library’s Osório Mateus collection held in Library’s Exhibition Gallery.
January (31st) to February (11th): Organization, together with the Lisbon Italian Cultural Institute, of a Bibliographic Exhibition on Carlo Goldoni, held at the FLUL Library.
November (14th- 16th): Irish Literary Festival: “Rising to meet you”, organized in collaboration with the Centre for English Studies and the Department of English Studies at FLUL. Supported by the Irish Embassy, Culture Ireland, Casa Fernando Pessoa and Artistas Unidos, the Festival was able to invite the Irish writers Derek Mahon, Jennifer Johnston and Enda Walsh; as well as the renowned scholar, Nicholas Grene (Trinity College, Dublin). In addition to a musical evening (with Teresa O'Donnell and David Creevy), a poetry reading (by Derek Mahon) and the reading of a short story (by Jennifer Johnston), the event included talks by João de Almeida Flor, Rui Carvalho Homem, Paulo Eduardo Carvalho, Teresa Casal and Nicholas Grene. In the FLUL entrance hall, an exhibition was held – with the support of the National Museum of Theatre and Dance – on “Irish Authors in Portuguese Theatre”. This included panels of photographs from productions and display cases with various items (posters, books and texts with notes from the Portuguese Board of Censors).
May (24th): Meetings at the Source, debate on the work of the musician, Fernando Mota, chaired by Ana Sereno and Sara Guerra.
May (7th- 8th): Co-Organization, with the Centre for English Studies, of the Harold Pinter conference: Meetings.
May (3rd): The Five Senses in Art: a debate on the work of the artist Hugo Canoilas, chaired by José M. Justo.
April (16th): Presentation, in the Auditorium of the National Library, of the prototype of the CD-ROM “16th Century Theatre by Portuguese Authors”.
November (10th): Lecture by Luís Soares Carneiro (Faculty of Architecture, Porto Univ.) on “Two Centuries of Portuguese Theatres”.
June (30th): Completion of the data collection project on theatre funding from the Fine Arts Department of the Calouste Gulbenkian Foundation (between 1959 and 2000) for inclusion in CETbase.
May (12th): Co-Organization, with the Institute of Spanish Culture and the Department of German Studies, the meeting on “Theatre Edition”.
May (4th): Lecture by Renato Ferracini (Actor and Researcher at LUME/UNICAMP, Brazil), Subjective Body (or an Actor’s Body-in-Art).
March (23rd- 24th): Co-Organization, with the Centre of Comparative Studies, the International Conference, Theatre and Translation. Stages of Encounters.
January (16th): As a continuation of “Shakespeare among us”: a lecture by W. B. Worthen (Berkeley Univ.): “Shakespeare and the Digital Culture.”
November (28th- 29th): Co-Organization, with the Centre for English Studies and the National Museum of Theatre and Dance, the International Conference, “Shakespeare among us” and the exhibition of items from the National Museum of Theatre and Dance collection linked to Shakespeare productions in Portugal.
April (26th and 29th): International Sessions, the History of Theatre and New Technologies.
March (26th, 27th and 29th): Arts Management Workshops with Jean-Pierre Wurtz (Inspector in the Department of Performing Arts of the French Ministry of Culture).
June (6th): Presenting the Congress, “Gloriana’s Rule – The Life, Literature and Culture of Elizabethan England”, organized by the Institute of English Studies, FLUP, presenting the results of research on performances of Shakespeare in Portugal: “Shakespeare on the Portuguese Stage”.
Two papers given were “Shakespeare’s Othello on the Portuguese Stage” by Maria Helena Serôdio and “‘All the proportions changed’: Twelfth Night in Portugal and the evolution of the concept and practice of mise-en-scène” by Paulo Eduardo Carvalho.
March (27th - 28th) / April (4th): Series of Lectures by Patrice Pavis, organized with the support of Teatro Nacional D. Maria II, the Portuguese Institute of Performing Arts and the Institut Franco Portugais: “La mise-en-scène: d'oú vient elle, où va-t-elle? La mise-en-scène aux origines” and “Analysis of contemporary productions” (accompanied by video excerpts).
January (31st) / February (3rd): Lecture Cycle / Master’s Seminar with Béatrice Picon-Vallin (CNRS): “L'Oeuvre de Meyerhold e La scène et les nouvelles technologies.”
October: Exhibition of work by students from the Specialization Course in Theatre Studies, in the FLUL entrance hall, commemorating the 10th anniversary of its creation in FLUL.
June (11th- 12th): Co-Organization of the continuation, in Porto, of the International Congress Gil Vicente: 500 Years After, and promoted by Teatro Nacional de S. João at Almeida Garrett Library.
June (3rd- 8th): The International Congress, “Gil Vicente: 500 year after” at FLUL, brought around 100 participants together, whether simply attending or as speakers, representing three generations of Gil Vicente scholarship. In celebration of the first performance of an auto - the Visitação - in 1502, on the occasion of the birth of the future King João III, our aim was to bring together renowned scholars and present the research of younger academics who have increased knowledge of Gil Vicente’s work in Portugal and made his name better known abroad. The proposed theme contemplated different areas, seeking analyses encompassing interdisciplinary points of view: from the presence of the autos at school, to the artistic practices they have stimulated (theatre, opera, plastic arts), whilst also bringing in comparative and cultural studies, on questions of poetics and the history of ideas. As part of the Congress, CET organized the exhibition Vicentina, based on the Osório Mateus Archive, at the former FLUL library.
April (7th- 8th): Conference, The Man with his Back Turned: The body in theatre, cinema, photography and the plastic arts, at the Calouste Gulbenkian Foundation. Papers were given by the following speakers: Georges Banu, João Brites, João Lourenço, Madalena Victorino, João Mário Grilo, Pedro Sena Nunes, José David, João Pedro Vaz, Luiz Francisco Rebello, Carlos Porto, Susana Paiva, Fernando Guerreiro, Paulo Eduardo Carvalho, Mário Jorge Torres, Ana Gabriela Macedo, André Barata, Rui Cintra and Maria Helena Serôdio. The conference was accompanied by an exhibition of paintings by José David.
March to May: Series of talks: “Magna Mondays” on aspects of Gil Vicente at the Teatro Maria Matos: João Nuno Sales Machado, “Visual Gil Vicente” (4th March), Maria João Brilhante, “Mofina between the sacred and the profane” (18th March), Graça Abreu, “Lusitania: the play within the play” (8th April), Cristina Almeida Ribeiro, “Gil Vicente – some farsas” (22nd April), José Camões “Purgatory Boats” (6th May), Maria Idalina Resina Rodrigues, “Physicians and Clerics: making us laugh and making us think” (20th May).
November (23rd): Debate with the participation of CET researchers and students from the Theatre Specialisation Course and Master’s in Theatre Studies with the Scottish playwrights David Harrower, David Greig, Stephen Greenhorn and Duncan McLean, organized by the Artistas Unidos and the British Council, at the theatre, A Capital.
October (15th): Lecture by Robert Erenstein on the Situation regarding Theatrical Iconography Studies.
November (27th- 28th): Commemorative sessions on the 4th Centenary of the Birth of Calderón de la Barca at FLUL, entitled “Remembering Calderón in Portugal, at FLUL (with the Institute of Spanish Culture, FLUL).
July (25th): Launch of the CETbase on the Internet: Teatro em Portugal, an online publication (ISSN 0874-9663), with a public presentation at FLUL.
May (4th- 5th): International Conference, “Le cercle des Muses – the arts dialogue” at FLUL (with GUELF and the Centre for Comparative Studies at FLUL).
March (21st- 22nd): Series of talks with Roger Chartier, from the CNRS, regarding the Projects, “Book and Reading: historical figurations of the author” and “Between the stage and the page: 16th and 17th century ways of publishing plays”, at the FCSH-UNL (and in collaboration with the Centre for the History of Culture at UNL) and with the support of the Institut Franco-Portugais.
February: Exhibition at Teatro do Bairro Alto: “Osório Mateus: theatre roles”, with some of the restricted documents from the Osório Mateus Archive being on display. The exhibition was prepared by Master’s candidates from Theatre Studies, coordinated by José Camões.
November (2nd): Co-Organization, with the Institute of Brazilian Culture, of a Roundtable on Brazilian Theatre, with the participation on Luiz Tyller Pirola (Ouro Preto Fed. Univ.), Dulce Viana Mindlin Ouro Preto Fed. Univ.) and Ivete Huppes (UNIVATES –Vale do Taquari Univ.).
September to November: Co-Organization, with the Education Department of FLUL, of an initiative for teacher trainers: “Reading the Classics at School”.
March: Start of the collaborative project with the Fine Arts Department of the Calouste Gulbenkian Foundation, aimed at collecting data on theatre funding through this Service, to be digitalised and put on the CETbase.
January to June: Co-organization with the Educational Department of the training course designed for primary and secondary school teachers: “Theatre Classics at School”.
December: Launch of an issue of the magazine ADE Teatro by the Asociación de Directores de Escena de Espanha (nºs 62-63, October-December), which included a dossier on contemporary Portuguese theatre, organized with the participation of various CET researchers and Theatre Studies post-graduates.
November: CET was launched at Lisbon University, research unit nº 279 of the Foundation of Science and Technology, being housed in the School of Arts and Humanities (FLUL).
November (24th to 29th): Co-organization, with AICT-IATC, in Lisbon, of the Executive Committee Meeting of the International Association of Theatre Critics.