Maguy Marin: Repertório(s)

Conference with Lia Rodrigues and presentation and moderation by Maria José Fazenda. The page indicates that the session is part of the Maguy Marin Focus, organized by Fundação de Serralves.

Today 8 The first time 12 Repertories: Conferences 16 New projects for inclusion and social responsibility 18 Programming calendar inside and outside the building 20 Kings' Concerts 34 No More Springs 36 Sentinelles 38 Class Enemy 40 The End 42 Amor de Perdição 46 A Poet in the Shape of Something 48 False True Stories: A Pina Collage 50 Hamlet Is Me 56 This Is a Genuine Hitler 58 Bérénice 60 Visitation: Manuel António Pina 64 MUSICAL-MENTE 66 Buchettino 68 FITEI at TNSJ 74 Something Is About to Happen 78 Invisible Places 80 Art Schools at TNSJ 82 The Kiss on the Asphalt 84 Voice Festival 90 T erritory IX 92 Educational Center 94 World Theatre Day/ Masked Ball 100 The King of Austria 101 Documentation Center 102 Readings in the Monastery 104 Dramatic Texts Collection 106 Stacker Collection 108 Conversations with Marta 110 Accessibility + Social Tickets/Solidarity Premiere 112 Guided Tours 114 Bar Ubu 116 Subscriptions 118 Próspero Card + TNSJ Friend Card + Theatre and Dance Schools Card 120 Customer Service and Box Office 121 TNSJ Technical Sheet 123 Sponsors BPI/“la Caixa” Foundation 126

Today, on the São João stage, Carlos Pimenta and the Ensemble rehearse The End, by António Patrício; in the Salão Nobre, Palmilha Dentada finishes a new café-theatre show; in the White Room, a technical meeting takes place to prepare the concert by A Garota Não; at Teatro Carlos Alberto, the scenery for Amor de Perdição, directed by Maria João Vicente, is unloaded and set up; in the rehearsal room, it is the day of the Theatre Clubs promoted by the Educational Center, after an intense weekend with Atelier 200 at the Escola Artística de Soares dos Reis; in a room lent by the legendary Clube Fenianos Portuenses, Victor Hugo Pontes directs the rehearsal of False True Stories, with our actors and the singing and dancing words of Manuel António Pina; at the Monastery of São Bento da Vitória, there is a site meeting, with designers, contractor, site inspector and the TNSJ Buildings and Maintenance team. Today, we contact the finalists in the competition for the coordination of our Educational Center, following the jury’s decision; we close the file with the activity proposal for the Fundação “la Caixa”, which includes new social responsibility projects; we receive the audience reports for Class Enemy, which sold out TeCA for two short weeks; we meet with our colleagues at DGArtes to deal with the award ceremony for the Guillermo Heras Prize to Mário Moutinho; we consider the application of a project with homeless people to a social innovation funding line; we decide to purchase the slightly exorbitant transatlantic trips so that biographer Ruy Castro can speak to us, live, about Nelson Rodrigues (videoconference? “Theatre is shamelessly body,” argues Eric Bentley); at a time when we are deprived of the spaciousness of our Benedictine monument, we assess the lending of rehearsal spaces to independent companies and production structures; as for me, I still fulfill an age-old tradition: drafting - late and at odd hours - the text for the opening of this agenda. PEDRO SOBRADO Chair of the Board of Directors PROGRAMMING JAN—JUL 2026  9 Today

A single day lived inside São João allows one to see almost the whole season - and what is seen from the administration is often limited. Today, an entire team, spread across several buildings - ours and others, lent by institutional travel companions, such as the Fenianos or the Porto Historic Centre Parish Union - is solidarily involved in the development of the activity we present, so well written and designed in this programming booklet: from the most circumspect Accounting and Public Procurement departments to the Communication agitators, passing through the machine room that is the small but great Production team or the elite troops of the Stage. Some have just landed on this self-luminous star, as is the case with some performers in our new production; others are saying goodbye to us after many years of coexistence, leaving for the private sector. (Today, we prepare the internal communication of the departure of Abílio Barbosa, an electrician who arrived here 25 years ago.) Today, all I had to begin this text was a famous line by F. Scott Fitzgerald: “Pull your chair up to the edge of the precipice and I’ll tell you a story.” Used and abused in creative writing workshops for aspiring writers, the phrase seems to sum up the condition of theatre today: the world on the brink of the abyss, and us telling stories. The formulation also evokes that particular combination of intimacy and danger that theatre induces. We invite our fellow citizens to settle comfortably into the chairs of the air-conditioned rooms of TNSJ to hear false true stories and, sotto voce, the sound of a siren. If we are on the edge of the precipice, our attention increases and sharpens. Intimacy is forged in risk. Welcome, today and always. 10  TEATRO NACIONAL SÃO JOÃO

The first time I entered this theatre was on 24 October 1996. I sat in the 2nd balcony, seat C21, to see The Great Theatre of the World. I remember thinking: “This really is the greatest theatre in the world.” Since then, whenever I entered here as a spectator, I brought with me that wonder - and the unconfessed desire to, one day, be able to be part of this house. I never truly thought, however, that I would become its artistic director. Perhaps I imagined that this might happen when I was older. Between my first time in this theatre and today, everything happened quickly. So quickly that it seems it was yesterday. In the same