A Hole in Time
to see is to understandM.12 . 00h45
To see is to traverse layers of time.
A Hole in Time begins with a dual immersion: in Gil Vicente’s “Exortação da Guerra” (1514) and in the stories gathered during an artist residency in Santos Evos, a parish of Viseu, in September 2025.
At the center is a dowser—someone who finds underground water through dowsing—who traverses layers of earth and time. A woman who was born crying inside her mother’s womb, who could already see before she was born.
Suddenly, without meaning to, she invokes Gil Vicente. And with him come his devils—Zebron and Danor—now unionized, demanding hourly wages. Gil Vicente’s play resurfaces: Greek princesses, ancient warriors, exhortations to battle. But the war being spoken of is another. And the song that won’t leave your head belongs to everyone.
“Diálogos” is an artist-in-residence program in six rural parishes in the municipality of Viseu that, for the past seven years, has been fostering encounters between artists and communities, and between the city and the countryside. In 2025 and 2026, the program will feature the figure and work of Gil Vicente, bridging the origins of Portuguese theater with the contemporary world in a dialogue between past and present that explores satire, comedy, and archetypal characters. Six writing residencies, six original texts, six creative residencies, three performances, three shows, two books, three exhibitions, and a reading festival make up a two-year program that celebrates these regions and their communities, affirms their identity, and contributes to artistic creation outside urban centers.
collaborators . partners . co-producers
art
TEXT Raquel S.BASED ON THE PLAY “Exortação da Guerra” by Gil Vicente
DIRECTOR Graeme Pulleyn
PRODUCTION AND DRAMATURGY CONSULTANT Patrick Murys
ARTISTIC CONSULTANTS Eduardo Correia, Leonor Barata
ASSISTANT DIRECTOR Inês Ribeiro
PERFORMERS Graeme Pulleyn, Leonor Keil
COMMUNITY PERFORMERS Cláudia Rodrigues, Décio Sousa, Diamantino Amaral, Diogo Costa, Inês Rocha
MUSIC AND SOUND DESIGN Leonardo Outeiro
VOCALS IN THE SONGS Augusta Alves de Oliveira
COSTUMES AND PROPS Ana Catarina Silva
SEAMSTRESS Adelina Cruz
PUPPETS enVide neFelibata [Teatro e Marionetas de Mandrágora]
ASSISTANCE WITH PUPPET CONSTRUCTION Joaquim de Sousa [Teatro e Marionetas de Mandrágora]
TECHNICAL OPERATIONS Rui Pêva
TECHNICAL ASSISTANCE Lucas Lourenço
SET DESIGN AND PRODUCTION SUPPORT Roberto Fernandes
PRODUCTION AND COMMUNICATIONS MANAGEMENT Guida Rolo
EXECUTIVE PRODUCTION, MEDIATION, AND COMMUNICATIONS Laura Tavares
PRODUCTION ASSISTANT Hugo Miguel
DESIGN, PHOTOGRAPHY, AND VIDEO Luís Belo
SOCIAL MEDIA CONTENT WRITING Susana Morais
ADMINISTRATIVE AND ACCOUNTING ASSISTANCE Ana Belo Coelho
LEGAL SUPPORT Pedro Leitão
PRODUCTION CEM Palcos
ACKNOWLEDGMENTS Viseu Music Conservatory, Lugar Presente, Jaime Pereira Silva, Luís Viegas
PART OF THE PROJECT Dialogues with Gil Vicente
ARTISTIC DIRECTION Graeme Pulleyn, Ricardo Cabaça
AUTHORS Eduardo Dias, Carlos J. Pessoa, Ricardo Cabaça, Mariana Fonseca, Raquel S., Luís Mestre
SUPPORT Junta de Freguesia de Barreiros e Cepões, Junta de Freguesia de Calde, Junta de Freguesia de Cavernães, Junta de Freguesia de Côta, Junta de Freguesia de Ribafeita, Junta de Freguesia de Santos Evos, Junta de Freguesia de São Pedro de France
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IMAGERY ARCHIVE PROMO 138.9 MBIMAGERY ARCHIVE WORK IN PROGRESS 69.6 MB
IMAGERY ARCHIVE REHEARSALS 874.9 MB
PROMO DOSSIER - EN 2.3 MB
PROMO DOSSIER COMPRESSED - EN 883.5 KB
art creation
Since the birth of Teatro e Marionetas de Mandrágora, its creative team has engaged in multidisciplinary artistic dialogues, collaborations, and various partnerships. These cover a wide range of synergies and, as such, the creative artistic team, which is the central axis of all the company's artistic projects, meets with other entities and structures that feel the need to seek out these technically specialized professionals in order to find answers to their creative, educational, or heritage needs.Thus, collaborations between projects and visual artists are often called upon to take place, creating challenging and innovative artistic dialogues that certainly bring new and distinctive sharing of learning, which not only meet technical needs, but rather enhance collaborations and joint creative developments.
These collaborations, many of which have been repeated over the years, create important partnerships between entities that allow for not only dramaturgical, but also technical and artistic observation. The dialogue between performing artists and other bridges of artistic empowerment launches a movement and drives the transmission of specialized knowledge, implementing artistically consolidated projects on stage or in spaces, where joint learning is above all a position in the way of being of the creatives in the structure.