Antonio Marinheiro

Stage Direction + Set & Costumes Design

THEATRE | Antonio Marinheiro (Alfama’s Oedipus)

Set Design Sketch

Prendinha 15 anos

Em modo celebratório aqui fica uma prendinha – o desenho da cenografia para a nossa próxima produção que celebra o centenário do nascimento de Bernardo Santareno – "António Marinheiro" – (irá estrear em Julho seguindo as normas de distanciamento social para espectáculos vigentes durante esse mês).

Publicado por Companhia de Teatro "Os Quatro Ventos" em Sexta-feira, 1 de maio de 2020

Tragedy in 3 Acts based in Sophocles Oedipus Rex. Premiered in 1960. | Text > Bernardo Santareno | Original theme written by > Carlos Paredes | Stage Director, Set & Costumes Designer > Pedro Ribeiro | Cast > Alda Machado, Barbara Correia, Jose Magalhaes, Maria Tavares, Rafaela Sa, Ricardo Pinho | Light Designer > Pedro Alves (Tulipa) | Sound & Light tec > Francisco Rebelo, Bruno Bernardo | Executive Producer > Isménia Leite | New Production > Quatro Ventos Theatre Company |  Sto Tirso PTG

© Images from the show by Andre Leite PS Photography 2020


(…) Pedro Ribeiro’s staging, both with regard to the direction of actors, and in relation to the main scenographic solutions (the construction of the scenic space is strongly metaphorical, using ropes, the ropes that lead us to the life of a sailor, but also to the figure of the Moirai/Fates that weave the destiny of human life), shows the ability to concentrate – without hesitation and with rare lucidity – at the heart of the complexity of Santareno’s text: the tragedy of doubt. As in the text of Sophocles and Greek theater in general, António Marinheiro is an exercise in pure theater, a cathartic explosion, and the search for the genuine “pathos”, demanding an absolute physical and emotional surrender. In this CT4V production, this tragic exacerbation happened, always on the razor’s edge, without ever falling into the sentimental exhibitionism that has been destroying the contemporary theatrical experience. To this end, the work of Pedro Ribeiro, the physical, psychological and emotional construction of the actors contributed a lot, delivering and being committed to the staged madness of tragedy and identity: the human innocence in the face of the inexorability of fate.” > Prof. Eusebio Andre & Prof. Marilia Machado | Audience feedback
(…) the Quatro Ventos Theatre Company proved that culture is alive and filled with ambition (…) from the outset the staging by Pedro Ribeiro makes us realize that there’s something mysterious in the characters (…) Throughout the show, there is a constant and inevitable aura of unsettling blackness. A tragedy that has already happened, but also another one that is yet to be revealed – that can change the path of all the characters. The audience is always looking for the missing piece of the puzzle (…) The cast plays perfectly with this feeling of constant restlessness. Rafaela Sa plays Amalia with a fierce mixture of fury, revolt and sweet naivete, perfectly consistent with the tribulations that the character goes through in her narrative. However, the heart of the play is in the dynamics between daughter and mother – Bernarda – played with a “cold moral column” by Alda Machado – an emotionally devastating role due to the way that her actions appear to come from every pore in her body, but always maintaining a stately posture during the entire duration of the show (…) > Paulo R. Silva | Entre Margens Newspaper


“Antonio Marinheiro” premiered in 1960, at Teatro São Luiz, in Lisbon, by Companhia Portuguesa de Comediantes. Bernardo Santareno reinvents Greek tragedy in a theatrical writing that makes it contemporary, confirming the genius of a great playwright. He sets the action in Bairro de Alfama, a poor neighborhood where the sea meets fado music. At that time Portugal was experiencing the reprisals of the Salazar dictatorship. Santareno represents a context in which persecutions, convictions, and deaths are promoted, all in the name of preserving morals. But also the beliefs and customs rooted in “being Portuguese”.