Aquilo que ouvíamosTheatre
Text and direction: Joana Craveiro
Co-creation and interpretation: Estêvão Antunes, Inês Rosado, Joana Craveiro, Tânia Guerreiro
Invited Musicians (Co-creation, composition and interpretation): Bruno Pinto, Francisco Madureira and Loosers (Guilherme Canhão, José Miguel Rodrigues and Rui Dâmaso)
Special participation: Ricardo Jerónimo, Sónia Guerra, Tatiana Damaya
Creative collaboration: Sérgio Hydalgo
Scenography: Carla Martinez
Costumes: Tânia Guerreiro
Image: João Paulo Serafim
Direct Video: João Paulo Serafim, Ricardo Jerónimo, Sónia Guerra, Tatiana Damaya
Lighting: Leocádia Silva
Sound: Pedro Baptista, Sérgio Milhano (PontoZurca)
Sound operation: Pedro Baptista
Production direction: Alaíde Costa
Assistance: Ricardo Jerónimo, Sónia Guerra, Tatiana Damaya
Support: Vila Flor Cultural Center, FX RoadLights, ZDB
Co-production: EGEAC – Gab. Programming in Public Space, São Luiz Teatro Municipal, Teatro do Vestido and Teatro Nacional São João
Ricardo Jerónimo, Sónia Guerra and Tatiana Damaya participate in the project in the context of an internship, under the protocol between Teatro do Vestido and ESAD.CR
Teatro do Vestido has the support of the Portuguese Republic – Culture | Directorate-General for the Arts
Age rating: TBC BY CCE
that was exactly how it was
if we remembered what it was like
‘Are you recording?’
This time we returned the recorder to ourselves.
We invited a band (3 musicians) and 2 more musicians, for a total of 5, so that, in the deafening noise they make (it's called music, man !, oh, yeah), they don't let us think that much. Remembering, enough. Tell each other, that's enough. Dance, too. Sing, sometimes hum, other times. Others, just listening, enough.
This time, the recorder came back to us.
Yes, what are you recording about?
What we heard part of our experiences of listening to alternative music - of different styles - from the mid-80s to the transition to the 90s (since, on the scene, there are different generations, so it will be more rigorous to say that it extends in time beyond [and before] that time). It is, above all, a show about how music was and is part of the identity of the people who listen to it, and about a time when the materiality of music was crucial and when many of our activities and experiences were organized around it.
For example, buying vinyl with limited allowances, exchanging them in the middle school yard, making friends because of it, buying cassettes to record those vinyls, which multiplied like that, or buying concert cassettes that are really rare and even badly recorded but very precious. , or tapes recorded with radio programs made by us and for us. Or, when what we heard was too much of what we were - or, how music gave us an identity. What we heard takes us on a journey through personal stories related to music and its consumption, which created and defined identities over time that still last.