De que falamos quando falamos da Odisseia?

Odisseia: Conference

What do we talk

about when we talk

about the Odyssey?

concepção do

projecto Odisseia/

conception of the

Odisseia project

José Luís Ferreira

organização/

organization

TNSJ

Centro Cultural

Vila Flor

Theatro Circo

Teatro de Vila Real

colaboração/

collaboration

União dos Teatros da

Europa/Union of the

Theatres of Europe

sex+sáb/fri+sat

10:30 ‑13:00

14:30 ‑17:30

Mosteiro São Bento da Vitória

28+29 Jan2011

Odisseia: ColóquioDE qUE Fa La MOS q UaNDO Fa La MOS Da ODiSSE ia?

2

Fala­‑me,­Musa,­do­homem­astuto­que­tanto­vagueou,depois­que­de­Tróia­destruiu­a­cidadela­sagrada.Muitos­foram­os­povos­cujas­cidades­observou,cujos­espíritos­conheceu;­e­foram­muitos­no­maros­sofrimentos­por­que­passou­para­salvar­a­vida,para­conseguir­o­retorno­dos­companheiros­a­suas­casas.Mas­a­eles,­embora­o­quisesse,­não­logrou­salvar.Não,­pereceram­devido­à­sua­loucura,insensatos,­que­devoraram­o­gado­sagrado­de­Hiperíon,O­Sol­–­e­assim­lhes­negou­o­deus­o­dia­do­retorno.Destas­coisas­fala­‑nos­agora,­ó­deusa,­filha­de­Zeus.­•

HomeroOdisseia.­Tradução­de­Frederico­Lourenço.­Lisboa:­Cotovia,­2003.­p.­25.

Tell­me,­O­muse,­of­that­ingenious­hero­who­travelled­far­and­wide­after­he­had­sacked­the­famous­town­of­Troy.­Many­cities­did­he­visit,­and­many­were­the­nations­with­whose­manners­and­customs­he­was­acquainted;­moreover­he­suffered­much­by­sea­while­trying­to­save­his­own­life­and­bring­his­men­safely­home;­but­do­what­he­might­he­could­not­save­his­men,­for­they­perished­through­their­own­sheer­folly­in­eating­the­cattle­of­the­Sun­‑god­Hyperion;­so­the­god­prevented­them­from­ever­reaching­home.­Tell­me,­too,­about­all­these­things,­­O­daughter­of­Jove,­from­whatsoever­source­you­may­know­them.­•

HomerOdyssey.­Translation­by­Samuel­Butler.­www.online­‑literature.com/homer/odyssey/1/.

3

CRiaÇÃO aRTÍSTiCa, DiVERSiDaDE CULTURaL E CiDaDaNia iTestemunhos de projectos de criação em ambiente cultural plural

aRTiSTiC CREaTiON, CULTURaL DiVERSiTY aND CiTiZENSHiP lReports on creative projects in a plural cultural environment ····································································································Dino Mustafic Festival Internacional de Teatro MESS/ MESS International Theatre Festival, Sarajevo ····································································································alexandra Lucas Coelho Jornalista/Journalist····································································································Emmanuel Demarcy‑Mota Théâtre de la Ville, Paris····································································································moderação/host of the conference José Luís Ferreira Relações Internacionais/ International Relations, TNSJ

sexta-feira/friday 10:30

FALA­‑ME,­MUSA,­DO­HOMEM­ASTUTO­QUE­TANTO­VAGUEOUA Odisseia

TELL­ME,­O­MUSE,­OF­THAT­INGENIOUS­HERO­WHO­TRAVELLED­FAR­AND­WIDE­The Odyssey····································································································Delfim F. Leão Universidade de Coimbra/ University of Coimbra····································································································Maria do Céu Fialho Universidade de Coimbra/ University of Coimbra····································································································moderação/host of the conference Georges Banu Université Sorbonne Nouvelle – Paris III

sexta -feira/friday 14:30

CRiaÇÃO aRTÍSTiCa, DiVERSiDaDE CULTURaL E CiDaDaNia llTestemunhos de projectos de criação em ambiente cultural plural

aRTiSTiC CREaTiON, CULTURaL DiVERSiTY aND CiTiZENSHiP llReports on creative projects in a plural cultural environment ····································································································Matteo Bavera Teatro Garibaldi, Palermo····································································································Lanfranco Li Cauli Piccolo Teatro di Milano····································································································Jean ‑Louis Martinelli Théâtre Nanterre -Amandiers····································································································Yael Ronen Habimah Teatro Nacional, Telavive/ Habimah National Theatre, Tel Aviv····································································································moderação/host of the conference José Luís Ferreira

sábado/saturday 10:30

APOLOGOIHistórias na primeira pessoaStories in the first person····································································································Georges Banualexandra Lucas CoelhoMehmet Ergen Arcola Theatre, Grã -Bretanha, Turquia/ United Kingdom, Turkey

sábado/saturday 14:30

Sessão de encerramentoClosing session····································································································Nuno Carinhas Director Artístico/Artistic Director, TNSJ····································································································Jean ‑Pierre Sarrazac Université Sorbonne Nouvelle – Paris III

sábado/saturday 17:00

28 Jan 29 Jan

4

Eis­a­reunião­de­vozes­avisadas­sobre­os­caminhos­e­descaminhos­da­contemporaneidade,­em­discurso­directo­acerca­do­antiquíssimo­presente­que­nos­cabe­viver­enquanto­artistas­e­públicos,­cidadãos­todos,­em­demanda­de­rememorações,­reescritas­e­inscrições.Confrontados­que­estamos­com­o­obsidiante­imediatismo­quotidiano­e­consequentes­urgências,­é­‑nos­necessário­interpor­o­retorno­à­conversação­sobre­os­mitos­fundadores,­questionando­falências­e­sucessos,­revelando­ou­ajudando­a­aurorar­novas­dramaturgias­para­uma­Europa­Geral­feita­de­tantos­Outros.Que­esta­reunião­de­talentos­se­faça­sob­os­auspícios­do­TNSJ,­na­cidade­do­Porto,­é­reflexo­da­nossa­inquietação­e­do­que­pensamos­ser­o­papel­do­Teatro­no­Teatro­das­Nações.­•

Nuno CarinhasDirector Artístico do TNSJ

Several­voices,­all­quite­knowledgeable­about­the­hits­and­misses­of­our­time,­discuss­here­the­very­ancient­present­in­which­we­must­live­as­artists­and­audiences,­citizens­all,­in­search­of­remembrances,­rewritings­and­inscriptions.As­we­find­ourselves­confronted­with­the­overwhelming­immediateness­of­the­everyday­and­its­consequent­demands,­we­need­to­compensate­this­by­returning­to­the­discussion­of­founding­myths,­assessing­failures­and­triumphs,­revealing­or­helping­the­dawning­of­new­dramaturgies­for­a­General­Europe­made­up­of­many­Others.­The­fact­that­this­gathering­of­talents­takes­place­under­the­aegis­of­the­TNSJ,­in­the­city­of­Porto,­illustrates­both­our­restlessness­and­our­view­of­the­role­played­by­the­Theatre­in­the­Theatre­of­Nations.­•

Nuno CarinhasTNSJ Artistic Director

Aurorar Dawning

5

Pelo­meio­das­profundas­crises­que­vivemos,­procuramos­nas­origens­literárias­e­mitológicas­da­nossa­civilização­as­questões­nucleares­com­que­se­debatem­sociedades­e­indivíduos­neste­mundo­contemporâneo.­Através­do­Teatro,­coetâneo­da­democracia,­com­as­armas­do­pensamento,­do­discurso,­da­transmissão­dos­saberes­e­da­sua­prática,­investigamos­o­mundo,­a­identidade,­a­relação­com­o­outro,­a­viagem,­o­retorno.­Interrogamos­o­modo­de­gestão­da­polis­e­o­exercício­da­cidadania,­a­criação­artística­num­universo­pluricultural,­a­experiência­pessoal­do­exílio­ou­das­marcas­da­guerra,­as­diferentes­leituras­de­uma­obra­que­é­a­passagem­revolucionária­entre­a­tradição­oral­e­a­literatura.Interessa­‑nos,­sobretudo,­em­tempos­de­indústrias­criativas,­reafirmar­o­lugar­especial­da­criação­artística­e­da­sua­relação­com­públicos­concretos­na­compreensão­e­no­questionamento­da­contemporaneidade.­Interessa­‑nos­exercer­um­programa­partilhado­com­parceiros­que­estão­no­Minho,­no­Alto­Douro,­na­Europa­ou­mais­além,­e­assim­testar­na­realidade­a­nossa­capacidade­de­crescimento­no­confronto­e­no­encontro­com­o­outro.A­Odisseia­começa­aqui;­até­ao­fim­de­Maio,­não­perca­um­só­momento­desta­viagem…­•

José Luís FerreiraCoordenador do Odisseia: Colóquio

Amidst­the­profound­crises­in­which­we­live,­we­search­the­literary­and­mythological­sources­of­our­civilisation­for­the­crucial­issues­that­concern­societies­and­individuals­in­the­modern­world.­Through­Theatre,­that­contemporary­of­democracy,­armed­with­thought,­speech­and­the­transmission­and­practice­of­knowledge,­we­examine­such­topics­as­the­world,­identity,­our­rapport­with­the­other,­the­journey,­the­return.­We­look­at­the­management­of­the­polis and­the­exercise­of­citizenship,­at­artistic­creation­in­a­multicultural­universe,­at­the­personal­experience­of­exile­or­of­war’s­wounds,­at­various­readings­of­a­work­that­is­the­revolutionary­transition­from­oral­tradition­to­literature.­What­mostly­interests­us,­in­these­times­of­creative­industries,­is­to­reassert­the­special­role­played­by­artistic­creation­and­its­relationship­with­concrete­audiences­in­the­understanding­and­questioning­of­contemporaneity.­We­are­interested­in­providing­a­program­alongside­partners­based­in­Minho,­High­Douro,­Europe­at­large­or­even­further,­thus­giving­a­reality­check­to­our­ability­to­grow­while­confronting­and­meeting­the­other.­The­Odyssey­starts­here;­until­the­end­of­May,­don’t­miss­a­single­moment­of­this­journey…­•

José Luís FerreiraCoordinator of Odisseia: Conference

Viajar Journeying

6

alexandra Lucas Coelho

Nasceu­em­Dezembro­de­1967,­em­Lisboa.­

Estudou­teatro­no­IFICT­e­licenciou­‑se­em­

Ciências­da­Comunicação­na­Universidade­

Nova­de­Lisboa.­Começou­a­trabalhar­na­

rádio­nos­anos­1980.­Foi­jornalista­da­RDP­

de­1991­a­1998,­e­desde­então­está­no­

jornal­Público,­onde­editou­os­suplementos­

“Leituras”­e­“Mil­Folhas”,­co­‑editou­a­secção­

de­Cultura­e­integrou­a­equipa­Grandes­

Repórteres.­Em­2001,­iniciou­uma­série­de­

reportagens­no­Médio­Oriente­e­Ásia­Central.­

Em­2005­‑2006,­esteve­seis­meses­baseada­

em­Jerusalém­como­correspondente.­Foram‑

‑lhe­atribuídos­prémios­do­Clube­Português­

de­Imprensa,­Casa­da­Imprensa­e­o­Grande­

Prémio­Gazeta­2005.­Em­2007,­publicou­

Oriente Próximo­(Relógio­D’Água),­narrativas­

jornalísticas­entre­israelitas­e­palestinianos.­

Mais­recentemente,­escreveu­Caderno Afegão­

(2009)­e­Viva México­(2010),­livros­editados­

pela­tinta­‑da­‑china.­Mora­desde­finais­de­

2010­no­Brasil,­como­correspondente.

Born­in­December­1967,­in­Lisbon.­

Studied­theatre­at­IFICT­and­graduated­in­

Communication­Sciences­from­Universidade­

Nova­de­Lisboa.­Began­working­on­the­radio­

in­the­1980s.­Worked­as­a­journalist­for­RDP­

from­1991­to­1998,­and­then­joined­the­Público

newspaper,­for­which­she­edited­the­“Leituras”­

and­“Mil­Folhas”­literary­supplements,­

co­‑edited­the­paper’s­cultural­section­and­

was­part­of­the­Grandes­Repórteres­[Major­

Reporters]­team.­In­2001,­she­started­a­series­

of­reports­on­the­Middle­East­and­Central­

Asia.­Between­2005­and­2006,­she­spent­six­

months­in­Jerusalem­as­a­correspondent.­She­

was­awarded­prizes­from­Clube­Português­de­

Imprensa­and­Casa­da­Imprensa,­as­well­as­

the­2005­Grande­Prémio­Gazeta.­In­2007,­she­

published­Oriente Próximo­(Relógio­D’Água),­

a­book­of­journalistic­narratives­between­

Israelis­and­Palestinians.­More­recently,­she­

wrote­Caderno Afegão­(2009)­and­Viva México­

(2010),­two­books­printed­by­tinta­‑da­‑china­

publishing­house.­Since­late­2010,­she­resides­

in­Brazil­as­a­correspondent.­•

Delfim F. Leão

Professor­Catedrático­do­Instituto­de­Estudos­

Clássicos­e­investigador­do­Centro­de­Estudos­

Clássicos­e­Humanísticos­da­Universidade­

de­Coimbra.­Doutorou­‑se­em­Letras­na­

mesma­Universidade,­na­especialidade­

de­História­da­Cultura­Clássica,­com­a­

tese­Sólon – Ética e Política.­Tem­dedicado­

a­sua­investigação­ao­direito­grego,­à­

teoria­política­na­Antiguidade­Clássica,­à­

pragmática­teatral­e­ao­romance­latino.­

Entre­os­trabalhos­de­investigação,­tem­

dedicado­uma­atenção­especial­à­tradução­

e­comentário­de­obras­de­autores­clássicos­

como­Sólon,­Píndaro,­Heródoto,­Aristóteles,­

Plutarco,­Petrónio,­Marcial­e­Apuleio.­Entre­

os­livros­publicados,­encontram­‑se:­Sólon –

Ética e Política (Lisboa,­FCG,­2001);­[autor­

e­co­‑editor]­Nomos. Direito e Sociedade na

Antiguidade Clássica/Derecho y Sociedad en

la Antigüedad Clásica (Coimbra­e­Madrid,­

IUC/Ediciones­Clásicas,­2004);­[co­‑autor]­

The Satyricon of Petronius. Genre, Wandering

and Style­(Coimbra,­Classica­Digitalia,­

2008);­[co­‑autor]­Dez Grandes Estadistas

Atenienses (Lisboa,­Edições­70,­2010);­[autor­

e­co­‑editor]­Law and Drama in Ancient Greece­

(London,­Duckworth,­2010);­[tradução­

do­latim­e­introdução]­Apuleio. Conto de

Amor e Psique­(Lisboa,­Biblioteca­Editores­

Independentes,­2010).

Professor­of­the­Instituto­de­Estudos­

Clássicos­and­researcher­at­Centro­de­Estudos­

Clássicos­e­Humanísticos,­Universidade­

de­Coimbra.­Holds­a­Ph.D.­degree­in­Arts­

(History­of­Classical­Culture)­from­the­

same­university,­with­the­thesis­Sólon –

Ética e Política [Solon – Ethics and Politics].­

Besides­his­research­work,­he­has­been­

especially­concerned­with­translating­and­

commenting­works­by­classical­authors,­

such­as­Solon,­Pindar,­Herodotus,­Aristotle,­

Plutarch,­Petronius,­Martial­and­Apuleius.­

His­published­work­includes:­Sólon – Ética

e Política (Lisbon,­FCG,­2001);­[author­and­

co­‑editor]­Nomos. Direito e Sociedade na

Antiguidade Clássica/Derecho y Sociedad en

la Antigüedad Clásica (Coimbra­and­Madrid,­

IUC/Ediciones­Clásicas,­2004);­[co­‑author]­

The Satyricon of Petronius. Genre, Wandering

and Style­(Coimbra,­Classica­Digitalia,­

2008);­[co­‑author]­Dez Grandes Estadistas

Atenienses (Lisbon,­Edições­70,­2010);­

[author­and­co­‑editor]­Law and Drama in

Ancient Greece­(London,­Duckworth,­2010);­

[translation­from­the­Latin­and­introduction]­

Apuleio. Conto de Amor e Psique­(Lisbon,­

Biblioteca­Editores­Independentes,­2010).­•

Emmanuel Demarcy ‑Mota

Encenador­e­Director­do­Théâtre­de­la­Ville,­

Paris.­Desde­cedo­inicia­uma­colaboração­

artística­com­o­escritor­François­Regnault,­

com­o­qual­trabalha­peças­de­numerosos­

autores­europeus­(Büchner,­Shakespeare,­

Pirandello,­Brecht,­Kleist…).­Em­1999,­

pela­encenação­de­Peine d’amour perdue­de­

Shakespeare,­recebe­o­prémio­Revelação­

Teatral,­atribuído­pelo­Syndicat­National­

de­la­Critique­Dramatique­et­Musicale.­

Nomeado,­em­2002,­Director­da­Comédie­

de­Reims,­abre­a­sua­primeira­temporada­

com­duas­criações­de­Fabrice­Melquiot,­

promove­um­colectivo­artístico­e­um­centro­

de­pesquisa­europeu,­e­decide­construir­um­

novo­espaço,­o­Atelier,­que­inaugura­em­

2007­com­o­festival­Reims­–­Scènes­d’Europe.­

Em­2008,­sucede­a­Gérard­Violette­na­

direcção­do­Théâtre­de­la­Ville,­onde­encena­

Casimir et Caroline, de­Horváth­(2009).­

Actualmente,­também­preside­à­Association­

Nationale­de­Recherche­et­d’Action­

Théâtrale,­que­congrega­docentes­e­artistas­

comprometidos­em­acções­de­formação­e­

acompanhamento­de­jovens­em­práticas­

teatrais.­Pelo­seu­percurso­teatral,­recebeu­o­

Prix­Plaisir­du­Théâtre­SACD­2010.

Stage­director­and­Director­of­Théâtre­de­

la­Ville,­Paris.­From­very­early­on,­he­has­

maintained­an­artistic­collaboration­with­

writer­François­Regnault.­Together,­they­

work­on­plays­by­many­European­authors­

(Büchner,­Shakespeare,­Pirandello,­Brecht,­

Kleist…).­In­1999,­Peine d’amour perdue,­

his­staging­of­Shakespeare’s­Love’s Labour

Lost,­was­awarded­the­Theatrical­Revelation­

prize­of­the­Syndicat­National­de­la­Critique­

Dramatique­et­Musicale.­After­becoming,­

in­2002,­the­Director­of­Comédie­de­Reims,­

he­began­his­first­season­with­two­creations­

by­Fabrice­Melquiot,­supported­an­artistic­

collective­and­a­European­research­centre,­

and­ordered­the­construction­of­a­new­

facility,­the­Atelier,­which­opened­in­2007­

with­the­Reims­–­Scènes­d’Europe­festival.­

7

In­2008,­he­replaced­Gérard­Violette­in­the­

director’s­chair­of­Théâtre­de­la­Ville,­where­

he­staged­Horváth’s­Casimir et Caroline­

(2009).­Currently,­he­is­also­the­President­

of­the­Association­Nationale­de­Recherche­

et­d’Action­Théâtrale,­which­congregates­

teachers­and­artists­committed­to­the­

training­and­guidance­of­young­theatre­

students.­His­theatrical­career­won­him­the­

Prix­Plaisir­du­Théâtre­SACD­2010.­•

Georges Banu

Ensaísta,­professor­de­Estudos­Teatrais­

na­Université­Sorbonne­Nouvelle­–­Paris­

III­e­Presidente­de­Honra­da­Associação­

Internacional­de­Críticos­de­Teatro.­É­editor­

e­director­da­revista­Alternatives théâtrales,­

responsabilidade­que­partilha­com­Bernard­

Debroux­desde­1998.­Dirige,­na­editora­

Actes­Sud,­a­colecção Le Temps du théâtre.­

Publicou­um­número­considerável­de­

obras­dedicadas­a­encenadores­europeus­

como­Peter­Brook,­Michael­Grüber,­

Giorgio­Strehler,­Antoine­Vitez­ou­Ariane­

Mnouchkine.­Escreveu­ensaios­de­referência­

sobre­temas­tão­diversos­como­as­relações­

entre­teatro­e­pintura­(Le Rideau,­L’homme

de dos­e­Nocturnes),­a­poética­do­palco­à­

italiana­(Rouge et or),­a­memória­(Mémoires

du théâtre)­ou­o­teatro­japonês­(L’acteur qui

ne revient pas).­Dirigiu­as­obras­colectivas­

Théâtre d’art en Europe e­Les­Répétitions, de

Stanislavski à Robert Wilson.­Colaborou­com­

Jerzy­Grotowski,­nomeadamente­na­tradução­

para­francês­da­obra­de­Thomas­Richards­

sobre­as­“acções­físicas”.­As­suas­obras­–­

algumas­delas­distinguidas­com­o­prémio­

de­melhor­livro­de­teatro­em­França­–­estão­

traduzidas­em­italiano,­alemão,­espanhol,­

russo,­romeno­e­eslovaco.­Realizou­ainda­

dois­filmes,­um­dedicado­a­Shakespeare­e­

outro­a­Tchékhov,­ambos­premiados­pela­

UNESCO.

Essayist,­Professor­of­Theatrical­Studies­at­

Université­Sorbonne­Nouvelle­–­Paris­III­and­

Honorary­President­of­the­International­

Association­of­Theatre­Critics.­Editor­and­

Director­of­Alternatives théâtrales magazine,­

a­responsibility­he­shares­with­Bernard­

Debroux­since­1998.­Supervises,­for­the

Actes­Sud­publishing­house,­the­collection

Le Temps du théâtre. Published­a­sizeable­

number­of­books­on­Peter­Brook,­Michael­

Grüber,­Giorgio­Strehler,­Antoine­Vitez,­

Ariane­Mnouchkine­and­other­European­

stage­directors.­Wrote­important­essays­on­

such­varied­subjects­as­the­connections­

between­drama­and­painting­(Le Rideau,­

L’homme de dos­and­Nocturnes),­the­poetics­

of­Italian­‑style­proscenium­stage­(Rouge

et or),­memory­(Mémoires du théâtre)­or­

Japanese­theatre­(L’acteur qui ne revient

pas).­Directed­the­collective­works­Théâtre

d’art en Europe and­Les­Répétitions, de

Stanislavski à Robert Wilson.­Collaborated­

with­Jerzy­Grotowski,­namely­on­the­

translation­into­French­of­Thomas­Richards’­

book­on­“physical­actions”.­His­books­–­some­

of­which­received­prizes­for­best­theatre­

book­in­France­–­have­been­translated­

into­Italian,­German,­Spanish,­Russian,­

Romanian­and­Slovak.­He­has­also­directed­

two­films,­one­on­Shakespeare­and­the­other­

on­Chekhov,­both­of­which­received­awards­

from­UNESCO.­•

Jean ‑Louis Martinelli

Encenador­e­Director­do­Théâtre­Nanterre‑

‑Amandiers,­França.­Fundou,­em­1977,­a­

companhia­Théâtre­du­Réfectoire,­Lyon.­

Em­Julho­de­1987,­é­nomeado­Director­do­

Théâtre­de­Lyon,­cargo­que­desempenhou­

até­1992.­No­ano­seguinte,­transita­

para­a­direcção­do­Théâtre­National­de­

Strasbourg,­onde­encenou­textos­de­

autores­contemporâneos­como­Bernard‑

‑Marie­Koltès,­Rainer­Werner­Fassbinder,­

Heiner­Müller­ou­Lars­Norén,­não­virando­as­

costas­a­clássicos­como­Racine,­Tchékhov­

ou­Sófocles.­Em­2002,­é­nomeado­Director­

do­Théâtre­Nanterre­‑Amandiers,­onde­

encenou,­entre­outros,­Les Sacrifiées,­de­

Laurent­Gaudé­(Prix­Goncourt­2005),­

Kliniken,­de­Lars­Norén­(prémio­de­Melhor­

Espectáculo­atribuído­pelo­Syndicat­National­

de­la­Critique­Dramatique­et­Musicale­em­

2007),­Médée,­de­Max­Rouquette­(2008),­

Les Coloniaux,­de­Aziz­Chouaki­(2009),­Une

maison de poupée,­de­Henrik­Ibsen­(2010),­

e­Ithaque,­de­Botho­Strauss­(2011).

Stage­director­and­Director­of­Théâtre­

Nanterre­‑Amandiers,­France.­In­1977,­

he­founded­the­Théâtre­du­Réfectoire­

company,­Lyon.­In­July­1987,­he­became­

Director­of­Théâtre­de­Lyon,­a­position­he­

held­until­1992.­In­the­following­year,­he­

began­directing­the­Théâtre­National­de­

Strasbourg,­where­he­staged­texts­by­such­

contemporary­authors­as­Bernard­‑Marie­

Koltès,­Rainer­Werner­Fassbinder,­Heiner­

Müller­or­Lars­Norén,­but­also­classic­plays­by­

Racine,­Chekhov­or­Sophocles.­In­2002,­he­

was­nominated­Director­of­Théâtre­Nanterre‑

‑Amandiers,­where­he­staged,­among­

others,­Laurent­Gaudé’s­Les Sacrifiées­(Prix­

Goncourt­2005),­Lars­Norén’s­Kliniken­(Best­

Show­prize­of­the­Syndicat­National­de­la­

Critique­Dramatique­et­Musicale,­2007),­Max­

Rouquette’s­Médée­(2008),­Aziz­Chouaki’s­

Les Coloniaux­(2009),­Henrik­Ibsen’s­Une

maison de poupée­(2010)­and­Botho­Strauss’­

Ithaque­(2011).­•

Jean ‑Pierre Sarrazac

Dramaturgo,­ensaísta­e­professor­de­

Dramaturgia­na­Université­Sorbonne­

Nouvelle­–­Paris­III­e­na­Université­de­

Louvain­‑la­‑Neuve.­Na­primeira,­dirigiu­o­

Institut­de­Recherches­en­Études­Théâtrales,­

onde­fundou­o­Groupe­de­Recherches­

sur­le­Drame­Moderne­et­Contemporain.­

Da­sua­vasta­e­influente­obra­ensaística,­

destaquemos­L’Avenir du drame­(livro­

de­1981­que­o­TNSJ­publicou­em­2002,­

numa­tradução­de­Alexandra­Moreira­da­

Silva),­Théâtres intimes­(1989)­ou­Théâtres

du moi, théâtres du monde­(1995).­Mais­

recentemente,­publicou­Jeux de rêve et autres

détours­(2004)­e­Je vais au théâtre voir le

monde­(2008),­e­co­‑dirigiu,­com­Catherine­

Naugrette,­a­obra­colectiva­Jean ‑Luc Lagarce

dans le mouvement dramatique (2008).­Em­

2007,­algumas­das­suas­peças­foram­reunidas­

no­volume­Théâtre 1 (L’Enfant ‑roi; Le Mariage

des morts; Les Inséparables; La Passion du

jardinier).­A­Associação­Internacional­de­

Críticos­de­Teatro­atribuiu­‑lhe,­pelo­conjunto­

da­sua­obra,­o­Prix­Thalie­2008.

Playwright,­essayist­and­teacher­of­

Theatrical­Studies­at­Université­Sorbonne­

Nouvelle­–­Paris­III­and­Université­de­

Louvain­‑la­‑Neuve.­In­the­former,­he­directed­

the­Institut­de­Recherches­en­Études­

8

Théâtrales,­where­he­founded­the­Groupe­

de­Recherches­sur­le­Drame­Moderne­et­

Contemporain.­In­his­vast­and­influential­

body­of­essays,­some­of­the­most­important­

are­L’Avenir du drame­(a­1981­book­which­the­

TNSJ­published­in­2002,­in­a­translation­by­

Alexandra­Moreira­da­Silva),­Théâtres intimes­

(1989)­or­Théâtres du moi, théâtres du monde­

(1995).­More­recently,­he­published­Jeux

de rêve et autres détours­(2004)­and­Je vais

au théâtre voir le monde­(2008),­besides­

co­‑directing,­with­Catherine­Naugrette,­

the­collective­work­Jean ‑Luc Lagarce dans

le mouvement dramatique (2008).­In­2007,­

some­of­his­plays­were­gathered­in­the­

volume­Théâtre 1 (L’Enfant ‑roi; Le Mariage

des morts; Les Inséparables; La Passion du

jardinier).­He­was­awarded­the­2008­Thalia­

Prize­by­the­International­Association­of­

Theatre­Critics,­for­his­body­of­work.­•

José Luís Ferreira

Nasceu­em­1967,­em­Coimbra,­onde­iniciou­a­

sua­actividade­profissional,­em­1991,­como­

Director­de­Produção­do­Teatro­Académico­

de­Gil­Vicente.­Coordena,­desde­1997,­o­

departamento­de­Relações­Internacionais­do­

TNSJ,­onde­desempenhou­também­funções­

de­Assessoria­de­Direcção­e­de­Coordenação­

do­departamento­de­Comunicação­e­Imagem.­

Participou­na­concepção­e­criação­do­festival­

PoNTI­(Porto.­Natal.­Teatro.­Internacional.)­

e­assumiu­a­sua­Direcção­Executiva­desde­

a­primeira­edição.­É­representante­do­

TNSJ­no­Conselho­de­Administração­da­

União­dos­Teatros­da­Europa,­que­o­TNSJ­

integra­desde­2003.­Concebeu­e­dirigiu­as­

duas­edições­do­Portogofone,­showcase­de­

Teatro­em­língua­portuguesa­e­encontro­

internacional­de­criadores­e­profissionais­de­

Teatro,­que­se­realizaram­no­Porto­em­2004­e­

2007.­Publicou,­em­2009,­em­conjunto­com­

Fernando­Mora­Ramos,­Américo­Rodrigues­

e­Manuel­Portela,­o­volume­Quatro Ensaios

à Boca de Cena – Para uma Política Teatral

e da Programação.­Em­Fevereiro­de­2011,­

assumirá­as­funções­de­Director­Artístico­do­

São­Luiz­Teatro­Municipal,­em­Lisboa.

Born­in­1967,­in­Coimbra,­where­he­also­

began,­in­1991,­his­professional­career,­as­

the­Production­Manager­of­Teatro­Académico­

de­Gil­Vicente.­Coordinates,­since­1997,­

the­International­Relations­department­of­

the­TNSJ,­after­having­worked­as­Direction­

Advisor­and­Coordinator­at­its­Image­and­

Communication­department.­Took­part­in­

the­conception­and­creation­of­the­PoNTI­

(Porto.­Natal.­Teatro.­Internacional.)­

festival,­of­which­he­was­Executive­Director­

since­its­first­edition.­He­represents­the­TNSJ­

at­the­Administrative­Board­of­the­Union­of­

the­Theatres­of­Europe,­of­which­the­TNSJ­

is­a­member­since­2003.­He­conceived­and­

directed­the­two­editions­of­Portogofone,­a­

showcase­of­Portuguese­‑speaking­theatre­

combined­with­an­international­meeting­of­

theatre­creators­and­professionals,­which­

took­place­in­Porto­in­2004­and­2007.­In­

2009­he­published,­in­collaboration­with­

Fernando­Mora­Ramos,­Américo­Rodrigues­

and­Manuel­Portela,­the­book­Quatro

Ensaios à Boca de Cena – Para uma Política

Teatral e da Programação­[Four Essays at

the Proscenium – Towards a Theatrical and

Programming Policy].­In­February­2011,­he­

will­become­the­Artistic­Director­of­São­Luiz­

Teatro­Municipal,­in­Lisbon.­•

Lanfranco Li Cauli

Coordenador­do­departamento­de­Marketing­

e­Comunicação­do­Piccolo­Teatro­di­

Milano,­Itália,­onde­desenvolve,­desde­

1998,­projectos­especiais­nas­áreas­da­

Internacionalização­e­Educação.­Esteve­

envolvido­nas­digressões­mundiais­de­

espectáculos­de­Giorgio­Strehler,­Luca­

Ronconi­e­Toni­Servillo.­Organizou­e­

promoveu­programas­educativos­dedicados­

ao­teatro­italiano,­bem­como­acções­de­

formação­e­seminários­em­Marketing­e­

Comunicação­Teatral,­em­instituições­como­a­

UCLA­(Los­Angeles),­University­of­California­

(Berkeley),­Università­Commerciale­Luigi­

Bocconi­(Milão),­Shanghai­Theatre­Academy­

(China)­ou­a­Université­Sorbonne­(Paris).

Coordinates­the­Marketing­and­

Communication­Department­of­the­Piccolo­

Teatro­di­Milano,­Italy,­where­he­develops,­

since­1998,­special­projects­in­the­areas­

of­Internationalisation­and­Education.­

Was­involved­in­the­world­tours­of­shows­

by­Giorgio­Strehler,­Luca­Ronconi­and­

Toni­Servillo.­Organised­and­promoted­

educational­programmes­dedicated­to­

Italian­theatre,­as­well­as­training­activities­

and­seminars­on­Theatrical­Marketing­and­

Communication,­in­such­institutions­as­

UCLA­(Los­Angeles),­University­of­California­

(Berkeley),­Università­Commerciale­Luigi­

Bocconi­(Milan),­Shanghai­Theatre­Academy­

(China)­or­Université­Sorbonne­(Paris).­•

Maria do Céu Fialho

Nascida­em­Évora,­licenciou‑se­em­

Filologia­Clássica­na­Faculdade­de­Letras­da­

Universidade­de­Coimbra­(FLUC)­em­1975.­

Foi­bolseira­do­DAAD­e­da­Fundação­Calouste­

Gulbenkian­entre­os­anos­1980‑83­para­

preparar­a­sua­dissertação­de­Doutoramento­

na­Ludwig‑Maximilians‑Universität,­

Munique.­Regressa­à­Universidade­de­

Coimbra,­doutora‑se­em­Literatura­Grega­­

em­1988,­com­a­tese­Luz e Trevas no Teatro

de Sófocles,­publicada­pelo­INIC­em­1992.­

É­Professora­Catedrática­da­FLUC­desde­

1998.­Tem­desenvolvido­trabalho­de­parceria­

(Acções­Integradas,­publicações­conjuntas)­

com­várias­universidades­portuguesas­e­

estrangeiras.­É­Coordenadora­Científica­do­

Centro­de­Estudos­Clássicos­e­Humanísticos,­

e­Directora­dos­Cursos­de­Doutoramento­e­

de­Mestrado­em­Poética­e­Hermenêutica.­

Áreas­de­investigação­com­publicações:­

Língua­e­Literatura­Grega,­Poética,­Ética­

Grega,­Literatura­Portuguesa­(recepção­do­

imaginário­clássico).

Born­in­Évora.­Received­a­degree­in­

Classical­Philology­from­the­Arts­Faculty­

of­Universidade­de­Coimbra­in­1975.­From­

1980­to­1983,­grants­from­DAAD­and­the­

Calouste­Gulbenkian­Foundation­helped­her­

prepare­her­Ph.D.­dissertation­at­Ludwig‑

‑Maximilians‑Universität,­Munich.­She­

then­returned­to­Universidade­de­Coimbra,­

where­she­was­conferred­a­Ph.D.­degree­in­

Greek­Literature­(1988)­for­the­thesis­Luz

e Trevas no Teatro de Sófocles­[Light and

Darkness in Sophocles’ Drama],­which­would­

be­published­by­INIC­in­1992.­In­1998,­she­

became­a­Professor­at­the­Arts­Faculty­of­

Universidade­de­Coimbra.­Has­collaborated­

(Integrated­Actions,­joint­publications)­with­

several­Portuguese­and­foreign­universities.­

9

Currently,­she­is­the­Scientific­Coordinator­

of­the­Classical­and­Humanistic­Studies­

Centre,­and­the­Director­of­the­Ph.D.­and­

Master’s­Degree­Courses­of­Poetics­and­

Hermeneutics.­Her­published­writings­deal­

with­the­following­research­subjects:­Greek­

Language­and­Literature,­Poetics,­Greek­

Ethics­and­Portuguese­Literature­(use­of­

classical­imagery).­•

Matteo Bavera

Nasceu­em­1955,­em­Santa­Agata­di­Militello,­

Sicília,­Itália.­Licenciado­em­Arte,­Música­e­

Espectáculo­pela­Universidade­de­Bolonha.­

É,­desde­1996,­Director­do­Teatro­Garibaldi­

de­Palermo,­cargo­que­desempenhou­nos­

primeiros­anos­com­Carlo­Cecchi.­Em­1998,­

é­‑lhe­atribuído­o­Prémio­UBU­pelo­projecto­

“Shakespeare­no­Teatro­Garibaldi”.­Dirige,­

em­2001,­a­X­edição­do­Festival­da­União­dos­

Teatros­da­Europa,­apenas­um­ano­depois­de­

ter­assegurado­a­adesão­do­Teatro­Garibaldi­

à­UTE.­Em­2005,­foi­nomeado­Cavaleiro­das­

Artes­e­das­Letras­pelo­Ministro­da­Cultura­

de­França.

Born­in­1955,­in­Santa­Agata­di­Militello,­

Sicily,­Italy.­He­holds­a­degree­in­Art,­Music­

and­Spectacle­from­the­Bologna­University.­

In­1996,­he­became­Director­of­Palermo’s­

Teatro­Garibaldi,­a­position­he­shared­­

with­Carlo­Cecchi­during­the­first­years.­­

In­1998,­he­was­awarded­the­UBU­prize­for­

his­“Shakespeare­at­the­Teatro­Garibaldi”­

project.­In­2001,­he­directed­the­10th­Union­

of­the­Theatres­of­Europe­Festival,­only­one­

year­after­having­the­Teatro­Garibaldi­join­

the­UTE.­The­French­Ministry­of­Culture­made­

him­a­Knight­of­Arts­and­Letters­in­2005.­•

Mehmet Ergen

Encenador­turco,­fundou­em­2000­o­Arcola­

Theatre­(Londres),­de­que­é­Director­

Artístico.­É­igualmente­fundador­e­Director­

Artístico­do­Talimhane­Theatre­(Istambul).­

Fundou­e­dirige,­em­Istambul,­o­Oyun­Yaz,­

festival­dedicado­às­novas­dramaturgias.­

Tem­vindo­a­encenar­textos­de­autores­

tão­diversos­como­Brian­Friel­(Afterplay),­

Michael­Frayn­(Noises Off),­Harold­Pinter­

(Ashes to Ashes),­Neil­LaBute­(The Shape of

Things),­William­Shakespeare­(King Lear),­

Arnold­Wesker­(Roots),­Bertolt­Brecht­

(In the Jungle of the Cities),­Maquiavel­

(Mandragola),­Günter­Grass­(The Plebeians

Rehearse the Uprising)­ou­Bonnie­Greer­

(Jitterbug).­Encenou­ainda­óperas­e­

musicais,­como­Seven Deadly Sins,­de­Bertolt­

Brecht­e­Kurt­Weill,­ou­I Can Get It For You

Wholesale,­de­Jerome­Weidman­e­Harold­

Rome.­Traduziu­obras­de­Henrik­Ibsen,­

Harold­Pinter,­Sam­Shepard,­Neil­LaBute,­

Martin­McDonagh­e­Enda­Walsh.

Turkish­stage­director.­In­2000,­he­founded­

the­Arcola­Theatre­(London),­of­which­he­is­

the­Artistic­Director.­He­is­also­the­founder­

and­Artistic­Director­of­the­Talimhane­

Theatre­(Istanbul).­Founded­and­directs­

the­Oyun­Yaz,­an­Istanbul­festival­dedicated­

to­new­stage­writing.­He­has­brought­to­

the­stage­texts­from­such­diverse­authors­

as­Brian­Friel­(Afterplay),­Michael­Frayn­

(Noises Off),­Harold­Pinter­(Ashes to Ashes),­

Neil­LaBute­(The Shape of Things),­William­

Shakespeare­(King Lear),­Arnold­Wesker­

(Roots),­Bertolt­Brecht­(In the Jungle of the

Cities),­Machiavelli­(Mandragola),­Günter­

Grass­(The Plebeians Rehearse the Uprising)­or­

Bonnie­Greer­(Jitterbug).­He­has­also­staged­

operas­and­musicals,­such­as­Bertolt­Brecht­

and­Kurt­Weill’s­Seven Deadly Sins,­or­Jerome­

Weidman­and­Harold­Rome’s I Can Get It for

You Wholesale.­Translated­works­by­Henrik­

Ibsen,­Harold­Pinter,­Sam­Shepard,­Neil­

LaBute,­Martin­McDonagh­and­Enda­Walsh.­•

Nuno Carinhas

Nasceu­em­Lisboa,­em­1954.­Pintor,­

cenógrafo,­figurinista­e­encenador.­­

É­membro­da­Sociedade­Portuguesa­de­

Autores.­Estudou­Pintura­na­Escola­Superior­

de­Belas­‑Artes­de­Lisboa.­Como­encenador,­

destaca­‑se­o­trabalho­realizado­com­o­

TNSJ­e­com­estruturas­como­Cão­Solteiro,­

ASSéDIO,­Ensemble,­Escola­de­Mulheres­e­

Novo­Grupo/Teatro­Aberto.­Entre­a­extensa­

lista­de­companhias­e­instituições­com­que­

colaborou,­contam­‑se­também­o­Teatro­

Nacional­de­São­Carlos,­Ballet­Gulbenkian,­

Companhia­Nacional­de­Bailado,­A­Escola­

da­Noite,­Teatro­Bruto,­Teatro­Nacional­

D.­Maria­II,­São­Luiz­Teatro­Municipal,­

Chapitô­e­Os­Cómicos.­Como­cenógrafo­e­

figurinista,­tem­trabalhado­com­criadores­

como­Ricardo­Pais,­Fernanda­Lapa,­João­

Lourenço,­Fernanda­Alves,­Jorge­Listopad,­

Paula­Massano,­Vasco­Wellenkamp,­Olga­

Roriz,­Paulo­Ribeiro,­Joaquim­Leitão,­entre­

outros.­Em­2000,­realizou­a­curta­‑metragem­

Retrato em Fuga­(Menção­Especial­do­Júri­

do­Buenos­Aires­Festival­Internacional­

de­Cine­Independiente,­2001).­Escreveu­

Uma Casa Contra o Mundo,­texto­encenado­

por­João­Paulo­Costa­(Ensemble,­2001).­

Dos­espectáculos­encenados­para­o­TNSJ,­

refiram­‑se,­a­título­de­exemplo, O Grande

Teatro do Mundo,­de­Calderón­de­la­Barca­

(1996);­A Ilusão Cómica,­de­Corneille­(1999);­

O Tio Vânia,­de­Tchékhov­(2005);­Todos

os que Falam,­quatro­“dramatículos”­de­

Beckett­(2006);­Beiras,­três­peças­de­Gil­

Vicente­(2007);­Tambores na Noite,­de­Bertolt­

Brecht­(2009);­Breve Sumário da História de

Deus,­de­Gil­Vicente­(2009);­e­Antígona,­de­

Sófocles­(2010).­É,­desde­Março­de­2009,­

Director­Artístico­do­TNSJ.

Born­in­Lisbon,­1954.­Painter,­set­designer,­

costume­designer­and­stage­director.­

Member­of­the­Sociedade­Portuguesa­de­

Autores.­Studied­Painting­at­Escola­Superior­

de­Belas­‑Artes­de­Lisboa.­His­most­important­

work­as­stage­director­was­carried­out­with­

the­TNSJ­and­such­structures­as­Cão­Solteiro,­

ASSéDIO,­Ensemble,­Escola­de­Mulheres­and­

Novo­Grupo/Teatro­Aberto.­The­long­list­

of­companies­and­institutions­with­which­

he­has­collaborated­also­includes­Teatro­

Nacional­de­São­Carlos,­Ballet­Gulbenkian,­

Companhia­Nacional­de­Bailado,­A­Escola­­

da­Noite,­Teatro­Bruto,­Teatro­Nacional­­

D.­Maria­II,­São­Luiz­Teatro­Municipal,­

Chapitô­and­Os­Cómicos.­As­a­set­and­

costume­designer,­he­has­worked­with­

Ricardo­Pais,­Fernanda­Lapa,­João­Lourenço,­

Fernanda­Alves,­Jorge­Listopad,­Paula­

Massano,­Vasco­Wellenkamp,­Olga­Roriz,­

Paulo­Ribeiro­and­Joaquim­Leitão,­among­

others.­In­2000,­he­directed­the­short­

film­Retrato em Fuga­(Special­Mention­

from­the­Jury­at­the­Buenos­Aires­Festival­

Internacional­de­Cine­Independiente,­

2001).­He­wrote­Uma Casa Contra o Mundo,­

which­would­be­staged­by­João­Paulo­Costa­

(Ensemble,­2001).­The­shows­he­staged­for­

10

the­TNSJ­include­Calderón­de­la­Barca’s The

Great Theatre of the World­(1996);­Corneille’s­

The Theatrical Illusion­(1999);­Chekhov’s­

Uncle Vanya­(2005);­All That Talk,­four­

“dramaticles”­by­Beckett­(2006);­Beiras,­three­

plays­by­Gil­Vicente­(2007);­Bertolt­Brecht’s­

Drums in the Night­(2009);­Gil­Vicente’s­

A Brief Summation of God’s History­(2009);­and­

Sophocles’­Antigone­(2010).­In­March­2009,­he­

became­Artistic­Director­of­the­TNSJ.­•

Yael Ronen

Nasceu­em­1976,­em­Jerusalém.­É­uma­das­

vozes­mais­destacadas­e­provocatórias­do­

teatro­israelita­contemporâneo.­Dramaturga­

e­encenadora,­o­seu­trabalho­assume­

uma­dimensão­eminentemente­política,­

reflectindo­sobre­questões­como­o­conflito­

israelo­‑palestiniano­ou­a­memória­do­

Holocausto.­Estudou­Representação­e­

Dramaturgia­no­HB­Studio­de­Nova­Iorque,­­

e­Encenação­no­Seminar­Hakibbutzim­College­

de­Telavive.­Escreveu­e­encenou,­entre­outros,­

The Guide to the Good Life­(2003),­Plonter

(2005),­Nut Case­(2008),­Bat Yam­(2008)­e­

The Third Generation­(2009).­Adaptou­e­

encenou­Antígona,­de­Sófocles­(2007),­

e­encenou­Rosencrantz and Guildenstern are

Dead,­de­Tom­Stoppard­(2007).­Em­2010,­

escreveu­e­encenou­Restless Night,­um­

musical­a­partir­de­canções­de­Shlomo­Artzi,­­

e­encenou­Morris Schimmel,­de­Hanoch­Levin.

Born­in­1976,­in­Jerusalem.­Hers­is­one­

of­the­most­important­and­provocative­

voices­in­contemporary­Israeli­theatre.­This­

playwright­and­stage­director’s­work­takes­

on­an­eminently­political­stance,­reflecting­

on­such­issues­as­the­Israeli­‑Palestinian­

conflict­or­Holocaust­memory.­She­studied­

Acting­and­Playwriting­at­New­York’s­HB­

Studio,­and­Stage­Direction­at­Tel­Aviv’s­

Seminar­Hakibbutzim­College.­Wrote­and­

staged,­among­others,­The Guide to the Good

Life­(2003),­Plonter (2005),­Nut Case­(2008),­

Bat Yam­(2008)­and­The Third Generation­

(2009).­Adapted­and­staged­Sophocles’­

Antigone­(2007),­and­staged­Tom­Stoppard’s­

Rosencrantz and Guildenstern are Dead­(2007).­

In­2010,­wrote­and­staged­Restless Night,­

a­musical­from­songs­by­Shlomo­Artzi,­and­

staged­Hanoch­Levin’s­Morris Schimmel.­•

11

F i CH a TéCNiC a TNSJ/

TNSJ STa FF

coordenação/coordination­­

José Luís Ferreira,­Hélder­Sousa,­

Maria­João­Teixeira,­Joana­Guimarães

direcção­técnica/technical­direction­­

Carlos Miguel Chaves­

assistente/assistant­­

Liliana­Oliveira

direcção­de­palco/­

stage­technical­management­­

Emanuel Pina­

assistente/assistant­­

Diná­Gonçalves

som/sound­­

Francisco Leal,­António­Bica

luz/light­­

Joaquim­Madaíl,­José­Iglésias,­­

Mónica­Sousa

vídeo/video­­

Hugo­Moutinho

maquinaria/stage­machinery­­

António Quaresma,­Joel­Santos

manutenção/maintenance­­

Manuel­Vieira

relações­públicas/public­relations­­

Luísa Corte ‑Real­

assistente/assistant­­

Rita­Guimarães

frente­de­casa/front­of­house­­

Fernando Camecelha­

assistentes/assistants­­

Jorge­Rebelo,­Patrícia­Oliveira

Teatro Nacional São João

Praça­da­Batalha

4000­‑102­Porto

T­+351­22­340­19­00­|­F­+­351­22­208­83­03

Teatro Carlos Alberto

Rua­das­Oliveiras,­43

4050­‑449­Porto

T­+351­22­340­19­00­|­F­+351­22­339­50­69

Mosteiro de São Bento da Vitória

Rua­de­São­Bento­da­Vitória

4050­‑543­Porto

T­+351­22­340­19­00­|­F­+351­22­339­30­39

www.tnsj.pt

geral@tnsj.pt

edição/edition­­

Departamento de Edições do TNSJ

coordenação/coordination

João Luís Pereira

documentação/documentation­­

Paula Braga

traduções/translations­­

José Gabriel Flores

design­gráfico/design­­

João Guedes

fotografia/photography­­

João Tuna

impressão/printed­by­­

Multitema – Soluções de Impressão, S.A.

apoios/supporters­

apoios­à­divulgação/divulgation­support­

agradecimentos/thanks­to

Alexandra Moreira da Silva

Amalia Kondoyanni

Bernard Despomadères

Frederico Lourenço

Giovanni Soresi

Oberdan Forlenza

Ronald Brouwer