The Time of the Cherries

Artistic Director Cláudia Dias
Guest Artist Igor Gandra
Text, performers, set and puppets Cláudia Dias, Igor Gandra
Arts Eduardo Mendes
Building atelier Igor Gandra, Cláudia Dias, Karas, Eduardo Mendes, Daniela Gomes, Nádia Soares
Light and Technical Director Nuno Borda de Água
Critical Eye Jorge Louraço Figueira
Technical and dramaturgy assistance Karas
Support Teatro de Ferro
Artistic residencies O Espaço do Tempo (artista associada), TMP/Teatro Campo Alegre, Teatro de Ferro, Companhia de Dança de Almada, Centro de Experimentação Artística do Vale da Amoreira
Coproduction Teatro Maria Matos, Teatro Municipal do Porto, Centro Cultural Vila Flor
Production Alkantara 

Sete Anos Sete Peças is supported by Câmara Municipal de Almada 


Alkantara is financed by República Portuguesa Cultura | DGArtes - Direção-Geral das Artes

Quarta-Feira: O Tempo das Cerejas ('Wednesday: The Time of the Cherries') is the third episode in the Sete Anos Sete Peças cycle (Seven Years Seven Pieces). After facing Pablo Fidalgo Lareo in Segunda-Feira: Atenção à Direita! ('Monday: Watch Out for the Right!' - premiered at the Alkantara Festival in 2016) and telling the story of a young refugee with Luca Belezze in Terça-Feira: Tudo o que É Sólido Dissolve-se no Ar ('Tueday: All that is Solid Melts into Air) in 2017, Cláudia Dias now shares the stage with Igor Gandra, director of the object and puppet theater company, Teatro do Ferro. 

The set is an enormous hole, as if a wrecking ball has fallen into a drywall floor. By building a set with the same construction material used in thousands of Portuguese homes, only to start destroying it right away, Cláudia Dias and Igor Gandra allude directly to everything that is swept under the western rug. Even though airstrikes carried out by European military forces can easily be seen online or on TV, the connection between our homes and the craters blown opened by missiles elsewhere is not always that visible. The black hole in the middle of Teatro Maria Matos alludes to that relationship of cause and effect. It is not only about showing that European social-democrats are in part responsible for the massacres occurring now in the rest of the world. The black eye in the middle of the floor is the image of a negative sign showing us what is still to be done.

 
Jorge Louraço Figueira