There are many stories upon the walls of the Museu do Oriente, in Lisbon.
These violent opera gouaches, by Wang Yishi’s, date from 1989 and comes from the Kwok On collection. Chinese opera is laden with simbolism, archetypal characters and it’s in the crossroads of several forms of art. Yishi displays the opera beyond the stage, the music, the costumes and the singing. His paintings are, according to himself: “the hope of being able to, with a new outlook, return to the simplicity of the human nature, of recalling the natural authenticity, of searching the vital strength.
Há muitas histórias contadas nas paredes do Museu do Oriente, em Lisboa.
Estes violentos gouaches de una ópera, de Wang Yishi, é de 1989 e provêm da colecção Kwok On. A ópera Chinesa é carregada de símbolos, personagens arquetípicos e está no cruzamento de várias artes. Yishi mostra-nos a ópera para além do palco, da música, dos figurinos e do canto. A pintura dele, segundo o próprio: “é a especança de poder, com um novo olhar, regressar à simplicidade da natureza humana, de relembrar a autenticidade natural, de procurar a força vital.
Now, with the cup in the bag, this sketch has a whole new meaning to it. Portugal played against Wales in the Euro 2016 semi-finals. A long and winding road, filled with draws and apparently easy matches. The bout against Wales was the first match (and second to last) where it was already ok to believe in victory.
Agora, com a taça no papo, este desenho tem um sabor diferente. Portugal jogou contra o País de Gales nas semi-finais do Euro 2016. Um caminho turbulento e cheio de empates e jogos aparentemente fáceis. O desafio contra o País de Gales foi o primeiro jogo (e penúltimo) em que finalmente já se podia acreditar numa vitória.
Short theater plays are not a tradition in Portugal. They are more common in the anglo-saxon world, where short stories are more prevalent. That didn’t stop the people at Buzico! from organizing a night of short plays, taking advantage of the innovative architectural layout of the Village Underground Lisbon, in Alcântara, in an event they called Mostra de Teatro Breve em Contentores (Short theater plays showcase in containers).
I was fortunate to be invited to watch the press rehearsals and later, the actual shows of the three short plays that the Mostra was showcasing – “A gaveta”, “Absinto” and “Escrever amor”. The plays were all 15 to 30 minutes long and with not more than 3 actors. The audience would meander around the catwalks that connect the piled up shipping containers, according to the plays’ schedule, guided by one of the producers.
Short plays are a very user-friendly format. They are excellent laboratories for actors, directors and playwrights alike, to test techniques against very small and diverse audiences. They are relatively inexpensive for the audience, which allows them to become more immersed and less worried about getting their money’s worth in show. Finnaly, they are very portable, allowing the shows to be held in tight places, as it was in the shipping containers that make up the Village Underground Lisbon complex.
It was a lot of fun to be there. Not going to tell you anything about the plays though. No spoilers here, for now.
It’s been a month now since Marina Grechanik’s workshop in Lisboa and it’s still kicking in. I’ve been experimenting a lot with ecolines, waterwashes as sketching base, big contrasts and form simplification. There’s actually not much story about these two spreads. Just a bunch of people I don’t know from the subway, the tram and the street.
And a bunch of people I do know, in a bar. In a mixture of techniques very unlike me. Oh, and a couple dancing lindy hop. Or jitterbug. I keep forgetting which.
Have a colorful weekend everyone!