Território IX

The page also mentions a short film by Filipe Faria and identifies the production as OPART / Estúdios Victor Córdon.

Hoje 8 A primeira vez 12 Repertório(s): Conferências 16 Novos projetos de inclusão e responsabilidade social 18 Calendário da programação dentro e fora de portas 20 Concertos de Reis 34 Já Não Há Primaveras 36 Sentinelles 38 Class Enemy 40 O Fim 42 Amor de Perdição 46 Um Poeta em Forma de Assim 48 Falsas Histórias Verdadeiras: Uma Pina Colagem 50 Hamlet Sou Eu 56 Isto É um Hitler Genuíno 58 Bérénice 60 Visitações: Manuel António Pina 64 MUSICAL-MENTE 66 Buchettino 68 O FITEI no TNSJ 74 Há Qualquer Coisa Prestes a Acontecer 78 Lugares Invisíveis 80 As Escolas Artísticas no TNSJ 82 O Beijo no Asfalto 84 Festival da Voz 90 T erritório IX 92 Centro Educativo 94 Dia Mundial do Teatro/ Baile de Máscaras 100 O Rei da Áustria 101 Centro de Documentação 102 Leituras no Mosteiro 104 Coleção Textos Dramáticos 106 Coleção Empilhadora 108 Conversas com a Marta 110 Acessibilidade + Bilhetes Sociais/Estreia Solidária 112 Visitas Guiadas 114 Bar Ubu 116 Assinaturas 118 Cartão Próspero + Cartão Amigo TNSJ + Cartão Escolas de Teatro e Dança 120 Atendimento e Bilheteira 121 Ficha técnica TNSJ 123 Mecenas BPI/Fundação “la Caixa” 126

Today, on the São João stage, Carlos Pimenta and the Ensemble rehearse O Fim, by António Patrício; in the Salão Nobre, Palmilha Dentada is finishing a new café-theatre show; in the Sala Branca, a technical meeting is taking place to prepare the concert by A Garota Não; at Teatro Carlos Alberto, the set for Amor de Perdição directed by Maria João Vicente is being unloaded and built; in the rehearsal room, it is the day of the Theatre Clubs promoted by the Educational Centre, after an intense weekend with Atelier 200 at the Soares dos Reis Art School; in a room lent by the legendary Clube Fenianos Portuenses, Victor Hugo Pontes directs the rehearsal of Falsas Histórias Verdadeiras, with our actors and the singing and dancing words of Manuel António Pina; at the Monastery of São Bento da Vitória, there is a site meeting, with designers, contractor, site supervisor and the TNSJ Buildings and Maintenance team. Today, we contact the finalists of the competition for the coordination of our Educational Centre, after the jury's decision; we close the dossier with the programme proposal for Fundação “la Caixa”, which includes new social responsibility projects; we receive the audience figures for Class Enemy which sold out TeCA for two short weeks; we meet with our colleagues at DGArtes to deal with the award ceremony of the Guillermo Heras Prize to Mário Moutinho; we consider a project application with homeless people to a social innovation funding line; we decide to purchase the slightly exorbitant transatlantic trips so that biographer Ruy Castro can tell us, live, about Nelson Rodrigues (video call? “Theatre is shamelessly body,” argues Eric Bentley); we assess, at a time when we are deprived of the breadth of our Benedictine monument, the loan of rehearsal spaces to independent companies and production structures; for my part, I still fulfil a centuries-old tradition: sketching — late at night and at odd hours — the text for the opening of this agenda. PEDRO SOBRADO Chairman of the Board of Directors PROGRAMME JAN—JUL 2026  9 Today

A single day lived from inside São João allows us to see almost the whole season — and what is seen from the administration is often limited. Today, an entire team, spread across several buildings — ours and others, lent by institutional travel companions, like the Fenianos or the União de Freguesias do Centro Histórico do Porto —, is collectively involved in the development of the activity we present, so well written and designed, in this programme booklet: from the most circumspect departments of Accounting and Public Procurement to the agitators of Communications, passing through the machine room that is the small but mighty Production team or the elite troops of the Stage. Some have just landed on this self-lit star, as happens with some performers in our new production; others are saying goodbye to us after many years together, heading into the private sector. (Today, we are preparing the internal communication about the departure of Abílio Barbosa, an electrician who arrived here 25 years ago.) Today, all I had to start this text was a famous line by F. Scott Fitzgerald: “Pull your chair up to the edge of the precipice and I'll tell you a story.” Used and abused in creative writing workshops for aspiring writers, the phrase seems to sum up the condition of theatre today: the world on the brink of the abyss, and us telling stories. The formulation also evokes that particular combination of intimacy and danger that theatre induces. We invite our fellow citizens to settle comfortably into the seats of TNSJ's climate-controlled halls to hear false true stories and, sotto voce, the sound of a siren. If we are on the edge of the precipice, our attention increases and sharpens. Intimacy is forged in risk. Welcome, today and always. 10  TEATRO NACIONAL SÃO JOÃO

The first time I entered this theatre was on 24 October 1996. I sat in the 2nd balcony, seat C21, to watch O Grande Teatro do Mundo. I remember thinking: “This really is the greatest theatre in the world.” Since then, whenever I came in here as a spectator, I brought with me that wonder — and the unconfessed desire to, one day, be part of this house. I never truly thought, however, that I would become its artistic director. Perhaps I imagined that could happen when I was older. Between my first time in this theatre and today, everything happened quickly. So quickly it feels like it was yesterday. At the same