Teatro e Marionetas de Mandrágora
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Became invisible

M.8 . 00h45
Became invisibleBecame invisibleBecame invisible

collaborators . partners . co-producers

video

art

ARTISTIC DIRECTION Clara Ribeiro
ART DIRECTOR Rúben Gomes
COREOGRAPHY DIRECTOR Cacá Otto Reus
DANCE TRAINING Cacá Otto Reus, Duarte Valadares
THEATER TRAINING Eurico Santos, Clara Ribeiro
PUPPETRY TRAINING Alexandre Guaraci
VISUAL ARTS TRAINING Clara Ribeiro
PERFORMANCE Centro Comunitário de Vermoim/Sobreiro { Antónia Magalhães, Antonieta Martins, Arminda Oliveira, Célia Ferreira, Fátima Couto, Fernanda Barros, Judite Cardoso, Lurdes Cunha, Manuela Ribeiro, Maria José Teixeira, Maria Luisa Moreira, Maria Ramos, Modesta Teixeira, Vânia Peneda
PUPPETS AND SET Centro Comunitário de Vermoim/Sobreiro
COSTUMES Beatriz Filomeno
MUSIC Dois Dias de Bago [ Bruna Santos, Diogo Carvalho, Diogo Cunha ]
LIGHT DESIGN César Cardoso
LIGHT OPERATION Sílvio Sousa
PHOTOGRAPHY Filipa Rodrigues
DESIGN Rúben Gomes
PRODUCTION Teatro e Marionetas de Mandrágora
EXECUTIVE PRODUCTION Hélder Duarte
PARTNERSHIP Centro Comunitário de Vermoim/Sobreiro, Santa Casa da Misericórdia da Maia
SUPPORT República Portuguesa - Ministério da Cultura, Direção Geral das Artes, Município da Maia, Município de Espinho, Município de Gondomar, Urbaniza.te, Contratos Locais de Segurança

download

TORNEIMEINVISIVEL - CARTAZ A3.JPG 1.5 MB
TORNEIMEINVISIVEL - CARTAZ A3.PDF 1.7 MB
TORNEIMEINVISIVEL - CONVITE.ZIP 4.8 MB
TORNEIMEINVISIVEL - FOLHA DE SALA.ZIP 5.4 MB
TORNEIMEINVISIVEL - IDENTIDADE GRÁFICA.ZIP 172 KB
TORNEIMEINVISIVEL - MAIS LOGÓTIPOS.ZIP 5.7 MB
IMAGERY ARCHIVE PROMO 2.1 MB
IMAGERY ARCHIVE PROMO 5.9 MB
IMAGERY ARCHIVE MEETINGS 38.4 MB
IMAGERY ARCHIVE WORK IN PROGRESS 9.7 MB
IMAGERY ARCHIVE REHEARSALS 1.7 GB

PROMO DOSSIER - EN 2.2 MB
PROMO DOSSIER COMPRESSED - EN 1.6 MB

community project

The impact of artistic work on the community allows us to consider it an excellent tool for empowering vulnerable individuals. Several projects implemented by different artistic organizations lead us to conclude that there are integrative behavioral improvements in the community.
Government support for the development of various programs in this area is an important facilitating factor for various associations and institutions that actively address this issue, creating social development projects through art.
“The concept of Education through Art has been the subject of reflection by some educators, philosophers, and even historians, fitting into the emergence of ‘new values and concepts’ in contexts of social, economic, and ideological transformation. Thus, several writings have emerged, nationally and internationally, as a product of concern and reflection.” (Meira, 2015).
In line with this thinking, the work presented demonstrates the importance of artistic practice in communities that welcome individuals with different vulnerabilities, from different age groups.
Although Morin has a very clear view of our thought process and its “hidden principles,” his view of things and the world is distorted by beliefs and, above all, by the goal of lifting the veil on a widespread belief that individuals in situations of vulnerability only enjoy artistic contact as social positivism, without this being properly analyzed. The creator of art and their creative potential are fundamental in these socially segregated communities. (Morin, 2005)

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