Catarina e a beleza de matar fascistas

by Tiago Rodrigues
text and direction Tiago Rodrigues
with António Fonseca, Beatriz Maia, Isabel Abreu, Marco Mendonça, Pedro Gil, Romeu Costa, Rui M. Silva, Sara Barros Leitão
stage design F. Ribeiro
costumes José António Tenente 
lights Nuno Meira 
sound design and original music Pedro Costa 
choral and vocal arrangements João Henriques 
voice over  Cláudio Castro, Nadezhda Bocharova, Paula Mora, Pedro Moldão
movement support Sofia Dias, Vítor Roriz
stage fighting and use of weapons David Chan Cordeiro 
director's assistant Margarida Bak Gordon
stage manager Carlos Freitas
prompter Cristina Vidal
translation Daniel Hahn (English), Thomas Resendes (French)
surtitles Rita Mendes 
executive production Joana Costa Santos, Rita Forjaz 
production Teatro Nacional D. Maria II
co-production Wiener Festwochen, Emilia Romagna Teatro Fondazione, ThéâtredelaCité – CDN Toulouse Occitanie & Théâtre Garonne Scène européenne Toulouse, Festival d’Automne à Paris & Théâtre des Bouffes du Nord, Teatro di Roma – Teatro Nazionale, Comédie de Caen, Théâtre de Liège, Maison de la Culture d'Amiens, BIT Teatergarasjen, Le Trident – Scène-nationale de Cherbourg-en-Cotentin, Teatre Lliure, Centro Cultural Vila Flor, O Espaço do Tempo
supported by Almeida Garrett Wines, Cano Amarelo, Culturgest, Zouri Shoes
duration 2h30

The show features music by Hania Rani (Biesy and Now, Run), Joanna Brouk (The Nymph Rising, Calling the Sailor), Laurel Halo (Rome Theme III and Hyphae) and Rosalía (De Plata)

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Tiago Rodrigues presents Catarina e a beleza de matar fascistas [Catarina and the Beauty of Killing Fascists]. It’s about a family that kills fascists.  It’s a tradition that everyone in the family has followed for over 70 years.  They’ve all got together today in a house in the country near a village called Baleizão in the south of Portugal.  One of the youngest members of the family, Catarina, is to kill her first fascist, who has been kidnapped for this very purpose. It’s a day to celebrate, a day of beauty and death.  However, Catarina finds herself unable to kill him or else she’s refusing to do so. Is there a place for violence in the struggle for a better world?
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