{"id":29,"date":"2022-01-12T14:49:10","date_gmt":"2022-01-12T14:49:10","guid":{"rendered":"http:\/\/companhiacegada.pt\/?page_id=29"},"modified":"2026-10-23T14:21:35","modified_gmt":"2026-10-23T14:21:35","slug":"circulacao","status":"publish","type":"page","link":"https:\/\/companhiacegada.pt\/?page_id=29","title":{"rendered":"Circula\u00e7\u00e3o"},"content":{"rendered":"\t\t
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\n\t\t\t\t\t\t\t\t\tESPET\u00c1CULOS DISPON\u00cdVEIS PARA CIRCULA\u00c7\u00c3O\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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OLEANNA
<\/b><\/span>De David Mamet – <\/b>Encena\u00e7\u00e3o de Rui Dion\u00edsio<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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David Mamet chamou a esta obra \u201ctrag\u00e9dia sobre o poder\u201d e desenhou duas linhas paralelas que, passo a passo, rumam aos interesses individuais, das diferen\u00e7as de g\u00e9nero e classe. Incapazes de se tocarem em ponto algum extinguem qualquer capacidade de compaix\u00e3o ou di\u00e1logo.<\/p>

Assim se comp\u00f5e a alquimia de incomunicabilidade capaz de mover seres humanos, alheios \u00e0s artes da guerra, a se destru\u00edrem.<\/p>

Tal como no cartaz da adapta\u00e7\u00e3o cinematogr\u00e1fica:<\/p>

\u201cSeja qual for o lado que se escolha, est\u00e1 errado!\u201d<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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NUM PA\u00cdS ONDE N\u00c3O DEFENDEM OS MEUS DIREITOS, EU N\u00c3O QUERO VIVER<\/b><\/p>

De Heinrich Von Kleist, <\/b>a partir de Jorge Silva Melo<\/b><\/span><\/p>

Encena\u00e7\u00e3o de Rui Dion\u00edsio, <\/b>dramaturgia de Marta Dias<\/b><\/b><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Michael Kohlhaas, cidad\u00e3o exemplar cuja probidade se transforma em rebeli\u00e3o e crime, percorre um trilho her\u00f3ico que o coloca inter pares com Ant\u00edgona, \u00c9dipo, Hamlet ou Fausto. Perante a injusti\u00e7a, a humilha\u00e7\u00e3o e a destitui\u00e7\u00e3o a que \u00e9 sujeito, este negociante de cavalos disp\u00f5e-se a sacrificar tudo o que tem, incluindo a sua vida, pela restitui\u00e7\u00e3o da ordem inicial.<\/p>

Kohlhaas procura ser ressarcido atrav\u00e9s de todos os meios legais ao seu alcance, apenas para se deparar com a inoperabilidade burocr\u00e1tica do Estado e os caprichos da elite aristocr\u00e1tica que controla os poderes jur\u00eddico e executivo.<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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A RECUSA DE BARTLEBY
<\/b><\/span>De Ricardo Caba\u00e7a <\/b>a partir de Herman Melville<\/b><\/p>

Encena\u00e7\u00e3o de Rui Dion\u00edsio<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Uma estranha mulher come\u00e7a a trabalhar num escrit\u00f3rio de escriv\u00e3es, um espa\u00e7o onde o quotidiano se repete incansavelmente. A presen\u00e7a de Bartleby abala a vida de todos aqueles com quem ela se cruza, at\u00e9 que o absurdo da situa\u00e7\u00e3o aproxima os dias do caos.<\/p>

Uma reflex\u00e3o sobre a import\u00e2ncia do trabalho nas nossas vidas, ao mesmo tempo que justap\u00f5e o peso da religi\u00e3o e do terreno nas decis\u00f5es que tomamos. O tormento que consome a alma de Bartleby \u00e9 o espelho de uma sociedade esgotada pela velocidade e pelo consumismo, onde as pessoas est\u00e3o \u00e0 deriva e \u00e0 beira do abismo.<\/p>

Que lugar ocupa o trabalho nas nossas vidas?<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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C\u00c1LICE DO DESCONTENTAMENTO<\/b><\/span>
<\/span>Encerramento das celebra\u00e7\u00f5es dos 50 Anos do 25 de Abril
27 de Abril – Pra\u00e7a de Touros Palha Blanco<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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C\u00e1lice do Descontentamento<\/b><\/span> \u00e9 um espet\u00e1culo multidisciplinar que cruza teatro, m\u00fasica ao vivo e testemunho documental para revisitar o per\u00edodo do fascismo portugu\u00eas, a Revolu\u00e7\u00e3o de Abril e o legado da democracia. Entre a fic\u00e7\u00e3o, a realidade e a mem\u00f3ria, \u00e9 uma reflex\u00e3o sobre a liberdade, a resist\u00eancia e a responsabilidade de preservar as conquistas de Abril.<\/p>

Concebido para uma arena de tourada, transformada em met\u00e1fora do confronto entre for\u00e7as pol\u00edticas, sociais e humanas, o espet\u00e1culo conduz o p\u00fablico por uma experi\u00eancia imersiva que recria a travessia clandestina da fronteira e o ex\u00edlio for\u00e7ado durante a ditadura. A narrativa teatral \u00e9 constru\u00edda a partir de investiga\u00e7\u00e3o hist\u00f3rica e dos testemunhos de antigos exilados pol\u00edticos, que inspiraram o texto original de Ricardo Caba\u00e7a.<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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FEITO REDOL EM OITO
<\/b><\/span>de Ana L\u00facia Magalh\u00e3es<\/b> a partir de Alves Redol<\/b>
Encena\u00e7\u00e3o de Rui Dion\u00edsio<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Feito Redol em <\/b>Oito <\/b>\u00e9 um espet\u00e1culo de exposi\u00e7\u00e3o viva que cruza teatro, pintura e patrim\u00f3nio, inspirado no universo liter\u00e1rio de Alves Redol. A partir de oito personagens femininas da sua obra, d\u00e1 voz a hist\u00f3rias de resist\u00eancia, desigualdade e humanidade que permanecem profundamente atuais, revelando a forma como o autor soube olhar e retratar a condi\u00e7\u00e3o humana.<\/p>

Concebido para o Museu do Neo-Realismo, em Vila Franca de Xira, o espet\u00e1culo convida o p\u00fablico a mergulhar num espa\u00e7o de encontro entre literatura, artes pl\u00e1sticas e teatro.<\/p>

Mais do que um espet\u00e1culo, Feito Redol em Oito \u00e9 uma homenagem ao legado de Alves Redol, uma das figuras maiores do neo-realismo portugu\u00eas, cuja obra e compromisso c\u00edvico deram voz \u00e0s realidades sociais do seu tempo e permanecem de ineg\u00e1vel relev\u00e2ncia.<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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O CONC<\/b>S<\/i><\/b>ERTO DEMOCR\u00c1TICO
<\/b><\/span>De Eug\u00e8ne Labiche<\/b>, dramaturgia de Marta Dias<\/b><\/p>

M\u00fasica e encena\u00e7\u00e3o de Rui Dion\u00edsio<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Com\u00e9dia de costumes subversiva pontuada por n\u00fameros musicais contagiantes, O Concs<\/i>erto Democr\u00e1tico pretende apontar apaixonadamente a necessidade de consertar a democracia que utilizamos h\u00e1 50 anos.<\/p>

\u00abEstando o pa\u00eds mergulhado numa crise estrutural das estruturas governativas, a Junta Aut\u00f3noma de Salva\u00e7\u00e3o Democr\u00e1tica emitiu um comunicado urgente para que se organizem elei\u00e7\u00f5es. Os cidad\u00e3os devem eleger candidatos locais para os representarem num inovador Parlamento dos Pequeneses.\u00bb<\/p>

Haver\u00e1 candidatos interessados na nobre miss\u00e3o de representar os seus concidad\u00e3os? E ser\u00e1 que algu\u00e9m vai aparecer para votar?<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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OS TRANSPARENTES
<\/b><\/span>De Ondjaki<\/b>, dramaturgia de Marta Dias<\/b><\/p>

Encena\u00e7\u00e3o de Manuela Paulo<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Esta \u00e9 a hist\u00f3ria do homem que se torna transparente, do pr\u00e9dio onde vive, da sua cidade pujante, polu\u00edda, desordenada e bela.<\/p>

Feita das hist\u00f3rias de tantas outras personagens que vivem no mesmo pr\u00e9dio e na cidade de contrastes que \u00e9 Luanda, a obra escrita por Ondjaki em 2012, Pr\u00e9mio Jos\u00e9 Saramago, surge agora no palco do TEIV, testemunhando a intemporalidade do seu retrato humanista e a acutil\u00e2ncia da sua cr\u00edtica pol\u00edtica.<\/p>

Par\u00e1bola que nos fala de desigualdade e abusos de poder, de amor e companheirismo, gan\u00e2ncia e tenacidade, Os Transparentes <\/i>faz-nos questionar o nosso futuro em comum, com humor, lirismo e sarcasmo.<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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A ORQUESTRA NA BALEIA
<\/b>De M\u00e1rio Jo\u00e3o Alves<\/b><\/span><\/p>

Encena\u00e7\u00e3o de Rui Dion\u00edsio<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Inspirado no livro A Orquestra na Baleia<\/i>, de M\u00e1rio Jo\u00e3o Alves, este espet\u00e1culo imersivo convida o p\u00fablico a entrar num universo po\u00e9tico onde m\u00fasica, palavra e imagem navegam juntas.<\/p>

Dentro de uma baleia-orquestra, sons ganham corpo, hist\u00f3rias ganham ondas e a imagina\u00e7\u00e3o conduz a viagem.<\/p>

Criado para todas as idades, o espet\u00e1culo celebra o encontro, a escuta e o espanto.<\/p>

\u00c9 tamb\u00e9m uma festa: a celebra\u00e7\u00e3o dos 40 anos da companhia Cegada, marcados pela cria\u00e7\u00e3o art\u00edstica, pela proximidade com o p\u00fablico e pela permanente vontade de sonhar em conjunto.<\/p>

Uma experi\u00eancia sensorial que envolve espa\u00e7o, som e emo\u00e7\u00e3o.<\/p>

+ler mais<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ler poesia de outra maneira – A DOER-ME NA BOCA COMO UMA CAN\u00c7\u00c3O<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dirigindo-se \u00e0 comunidade escolar do ensino secund\u00e1rio, este projeto congrega teatro e m\u00fasica para ouvir a voz de seis poetas do s\u00e9culo XX.<\/p>

O fito deste encontro \u00e9 facilitar a escuta e a apropria\u00e7\u00e3o pelos alunos, proporcionando outra forma de relacionamento com o texto po\u00e9tico.<\/p>

Estudantes e professores s\u00e3o convidados a integrar o espet\u00e1culo, como poetas do s\u00e9culo XXI.<\/p>

Dois atores levam ao palco da escola 12 textos de 6 poetas, numa pe\u00e7a-concerto que tem a l\u00edngua portuguesa como protagonista.<\/p>

Paulo Matos e Soraia Sousa dizem, cantam, exploram as palavras e os seus sentidos, dando corpo a uma sele\u00e7\u00e3o de poemas que reflete sobre o sofrimento e o crescimento do sujeito po\u00e9tico.<\/p>

+ler mais<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ler poesia de outra maneira – H\u00e1 Uma Voz Que Bebo<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dirigindo-se \u00e0 comunidade escolar do ensino secund\u00e1rio,<\/p>

este projecto congrega teatro e m\u00fasica para ouvir a voz de seis poetas do s\u00e9culo XX.<\/p>

O fito deste encontro \u00e9 facilitar a escuta e a apropria\u00e7\u00e3o pelos alunos, proporcionando outra forma de relacionamento com o texto po\u00e9tico.<\/p>

Estudantes e professores s\u00e3o convidados a integrar o espet\u00e1culo, como poetas do s\u00e9culo XXI.<\/p>

Dois atores levam ao palco da escola 12 textos de 6 poetas, numa pe\u00e7a-concerto que tem a l\u00edngua portuguesa como protagonista.<\/p>

+ler mais<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tNOVAS DATAS A ANUNCIAR\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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… ESPET\u00c1CULOS DISPON\u00cdVEIS PARA CIRCULA\u00c7\u00c3O OLEANNADe David Mamet – Encena\u00e7\u00e3o de Rui Dion\u00edsio David Mamet chamou a esta obra \u201ctrag\u00e9dia sobre o poder\u201d e desenhou duas linhas paralelas que, passo a passo, rumam aos interesses individuais, das diferen\u00e7as de g\u00e9nero e classe. Incapazes de se tocarem em ponto algum extinguem qualquer capacidade de compaix\u00e3o ou […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-29","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=\/wp\/v2\/pages\/29","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=29"}],"version-history":[{"count":85,"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=\/wp\/v2\/pages\/29\/revisions"}],"predecessor-version":[{"id":2781,"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=\/wp\/v2\/pages\/29\/revisions\/2781"}],"wp:attachment":[{"href":"https:\/\/companhiacegada.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=29"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}