Figados de Tigre

Stage Direction + Set & Costumes Design

THEATRE | Figados de Tigre (AKA Tiger Livers)

Costumes Design Sketches

Set Design Sketches

Theatre of the absurd play in 4 Acts with 25 songs and 62 characters | Text > Francisco Gomes Amorim| Dramaturgy > Catia Ferreira, Bruno Bernardo, Ismenia Leite, Luis Magalhaes, Marlene Meireles, Marta Costa, Pedro Ribeiro, Sara Azevedo, Teresa Pinto | Stage Director, Set & Costumes Designer > Pedro Ribeiro | Light Designer > Pedro Alves (Tulipa) | Sound Designer > Eduardo Machado | Cast > Ana Filipa Rocha, Andreia Brandao, Angela Jesus, Alda Machado, Barbara Correia, Bruno Bernardo, Diana Ferreira, Fatima Fontes, Filipe Silva, Joaquim Bessa, Jose Magalhaes, Luis Magalhaes, Mafalda Canhola, Marlene Meireles, Marta Costa, Marta Rosas, Magda Mendes, Pedro Sousa, Raquel Serdoura, Ricardo Leite, Rosa Nunes, Sara Azevedo, Teresa Pinto | Executive Producer > Isménia Leite New Production > Quatro Ventos Theatre Company |  Sto Tirso PTG | © Images from the show by CMST & Ricardo Meireles 2019

Figados de Tigre (aka Tiger Livers) “the melodrama of the melodramas”, is probably the greatest comedy of Portuguese theatre and probably the least represented. Maybe it’s because of its size (?) four acts packed with 62 characters, 3 choruses and 25 songs… An absurd epic about the voyage to Hades of Tiger Livers – the emperor of a wretched country – to ask for forgiveness for a crime that he committed…

It premiered at the Carnival of 1857, in Lisbon at the D. Maria II Theatre, in an unexpected diversion to the ultra-romantic pieces where “mothers did not go to the theatre without the provision of handkerchiefs to wipe their eyes during the stabbing of the handsome hero, and without cakes to silence the frightened children with the shout of the evil tyrants. “This play marked by the courage of the themes, foreshadowed the Theatre of the Absurd fifty years before Alfred Jarry’s “King Ubu”

Gomes de Amorim retracts the social reality of Lisbon from the nineteenth century, using direct references to people and places as well as using famous opera arias from the day. We also decided to draw an adaptation for the city of St.Tirso with national and international references, with melodies that define us today. A delirious journey through the absurdity that is recognized even in the scenes: “the plot is becoming so complicated, so many and different relatives are appearing to me, that I am at risk of not knowing who I am!” So do not be surprised if you lose yourself in it, that’s the whole point.