Evento
FEBRUARY 5, 9:30 PM
Olga Roriz (PT)
O Salvado
Direction, Performance, Texts and Musical Selection Olga Roriz
Soundtrack and Video João Rapozo
Set Design Eric Costa
Costumes Bárbara Felicidade
Lighting Design Cristina Piedade
Text Curation Sara Carinhas
Vocal Direction João Henriques
Vocal Coaching Rita Silva
Musical Conception for Guitar Vítor Rua
Creation Assistant André de Campos
Rehearsal Assistant Amália Santos
Set Design Assistant Pedro Sousa
Technical Direction João Chicó
Lighting and Video Operation: João Chicó; Miguel Carvalho; Pedro Guimarães; Ricardo Pimentel
Sound Design, Setup and Operation Sérgio Milhano / PontoZurca
Sound Assistant Vasco Albano
Co-production Teatro Nacional São João, Teatro Aveirense, Cineteatro Louletano and São Luiz Teatro Municipal
Residencies Teatro Aveirense, Arquipélago – Centre for Contemporary Art – Azores, Centro Cultural de Lagos, Teatro Municipal de Ourém, Love Affairs Basement – London
COMPANHIA OLGA RORIZ
Direction Olga Roriz
Production Direction António Quadros Ferro
Executive Production João Pissarra
Management Georgina Pires
Administration (residencies, training and facilities) Nuno Afonso
Coordination Corpoemcadeia Catarina Câmara
Educational Assistant Yonel Serrano
Co-direction Festival Interferências Bruno Alexandre
Companhia Olga Roriz is a structure funded by the Directorate-General for the Arts | Ministry of Culture and is also supported by the Sociedade Portuguesa de Autores, Lisbon City Council, Fundação “La Caixa” – BPI, Sociedade Portuguesa de Autores and PLMJ.
Duration 1h10min.
Ages 12+
Discounted prices (w/ discount)
Under 30s and students
People with disabilities and one companion
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Over 65s: 50% discount
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Pentágono Cultural Card: 50% discount
Twelve years have passed since The Rite of Spring, her last solo. Now, Olga Roriz once again feels compelled toward an inevitable confrontation with herself. Under the title O Salvado (everything she managed to save), this piece is born from an unresolved question, from an intention yet to be discovered. It is not a formal search for new languages, but the continuation of a shared struggle. Like someone resisting a shipwreck, she asks: what can be saved from catastrophe? What traces remain after the storm? What can still preserve a life of seven decades? What has clung to the body and to time, and what can finally be released to become matter, memory, presence? What has not yet died within her? And from what has she, after all, managed to break free? What body is this now? What stories remain to be told? Everything suspended. Everything up in the air. Everything anchored in memory. And it is from this substance — this urgency to exist between what is remembered and what is lost, between what was and what might still be — that the need for reinvention emerges.