For security reasons, the presentations of the 2º-year exercises are restricted to the academic community.

 

"To Your Will"

Guidance and Adaptation Alvaro Correia

Based on the work of William Shakespeare

Translation Fernando Villas-Boas

 

Ramo of Actors André Lopes, Carolina Trindade, Gabriel Silva, Inês Silva, Margarida Lucas, Marta Serôdio, Rodrigo Esteves

 

Ramo of Scene Design

Costumes, Centerography, Props Carlota González and Catarina Sousa

Machinery Catarina Sousa and Rafael dos Santos

Wardrobe assistance  Irina de Falco

Maquilage and Characterization Carlota González, Catarina Sousa and Rafael dos Santos

 

Ramo of Production

Drawing of Light and Video Marta Semion and Miguel Mendes

Encending Assistance Marta Semion

Operation of Light Marta Semion

Sound and video Operation Miguel Mendes

Followspot Operation Sofia Ramos

Assistants of Palco Ana Miffon and Sofia Ramos

Direction of Cena and Technical Direction Miguel Mendes

Production Marta Semion and Miguel Mendes

 

Sinopse

The process of which emerges this" To Your Will " was something like a constant rehearsal, a constant experimentation, that prolong itself and continues in time, and will be an essay always until the end. A measurement of time. How long to be love at first sight? How long for the look to fall in love? How long until gender takes place in fluidity? How long can a cover-up, the desire? How long? But it's not a race, there's no rush. They are experiences, vivences, rehearsals. always on scene, variations within a structure. From a convention. Theatrical?! Is the step of time in the theatre the step of time in a forest? In The Ardenas it seems that time is suspending. In the theater as well. It may be that also the audience falls in love at first glance.

 

Distribution of Characters

André Lopes Olivério, Orlando (act II), Duke Frederico, Amiens, Sílvio

Gabriel Silva Orlando (act I), Carlos, Diamantino, Corino

Inês Silva Adam, Rosalinda, Old Duke, Febe

Lua Célia, Rosalinda

Margarida Lucas Célia, Rosalinda

Marta Serôdio Rosalinda, Diamantino

Rodrigo P. Esteves Orlando, Jácome, Sylvio

 

Texts

As You Like It turned out to be my first theatrical contact as an actor, with a text by Shakespeare. The care for the word, with the dynamics of rhythm printed by the author himself were new challenges while interpreter. The fact that we are placed to make various characters within one spectacle, has led us to find out more intensively the different existing universes and to have a greater understanding of the whole story; I believe that as actors, the stimulus to unfold us in various records has helped our growth both at the individual and group level. Thus, I leave a thank you (giant) to all those involved in this process that I am sure, we will remember.

André Lopes

 

The process of interpreting 3 completely distinct characters (Orlando, third son of D. Rolando Brás, with his young, honorable and lirishly impassioned aura; Sílvio, the helpless shepherd for love, blindly in love with Febe, someone who manipulates him and does not love him; Jácome, traveler lived, experienced and melancholy) and find the distinction for these three records, navigating the intricate Shakespeare's poetry, was quite challenging from the dramatic point of view, in this forest of loves and desamors in which everyone moves and clings for love to someone or to something-be it to a person, be it to the idealization of a person, or of himself and of the natural order of the world.

Rodrigo P. Esteves

 

I am quite happy with the end result of this project that was being done a little bit at our will always with opportunities for collective creation              .
Had some prejudices with Shakespeare and at this time I like it quite a lot and admire quite the ability to write and create it. Thank you for coming in and now they watch your will!

Gabriel Silva

 

Shakespeare has always looked like a seven-headed bug. A text in poetry and prose, intricate poetry, prose full of games, also seemed frightening to the beginning. but every step proposed to us that we put ourselves in the place of the creator, we curated text, we proposed dramaturgies, we made readings, we paraphrase poems, we created small projects for each character, sharing references: the inner world of all, students of theatre, production, scene design, teachers were put on top of the table to build our forest of the Ardennes. And although they are infinite the possibilities with which imagination can build a universe without limits, although this is a just a great essay, this stage will always be our forest idyllic.

Marta Serôdio

 

Rosalinda-Célia:

1. Slice text to wash the loiça;

2. Do not run;

3. Listen;

4. Glasses?

5. Fun-te!

Moon (pointing out the work process of the characters)

 

For me this spectacle symbolizes the sense of freedom by following with what makes us happy, and to love without fear or hesitation. Working for a pandemic spectacle has difficult moments, however, we were able to create in group very special moments-from the sharing of ideas and exercises in zoom, until we can finally run through the woods of the Ardennes, see oold-times mammoth and sing together at the piano.

Margarida Lucas

 

More than words to describe the process, the best is to see (your will) and then they take the conclusions

Inês Silva

 

With the idea of fragmentation and organicity in mind, we leave for the construction of the scene and the figurines taking into account the text, space and people.           
The cenography, composed of large wooden structures, composes the celebrated space to be a portal by which the public has to go through to enter into this theatrical experience.
Perspectives; light and shadow games; possibilities of different densities; the invisible and the visible; the depths; the capacity of movement and transformation make this cenography vital and a changing object from the beginning to the end of the play; such as xs atorxs, the lights, the machinery and the two texts, which come together through these objects in wood.
As of a passage from the day to the night if it was treated, this scenario strives for fluidity.
The contrast between black and white, and day and night were ideas that have perpetuated themselves throughout the process and which have extended to the figurines; "To Your Will", the day, the clarity, the light of the white; "Dream of a Midsummer Night", the night, the pitch, the blackness of the black.

Carlota González and Catarina Sousa

 

The artistic object that now presents itself has had a challenging creative process (even more challenging to be online), in which each was contributing to the creation of the same. Through the application of the various techniques and subjects learned over these two years, as well as through the use of various equipment recently acquired by ESTC, we have been able to provide this project with various valences, both at the technical level, and at the aesthetic level.                 
We consider it important the autonomy that we have been given for exploration, research and laboratory, as well as the opportunity to work together with the remaining branches of the Licentiature.                    
After three quick months of work, fruit of interhelp, respect and learning, for Thou, "To Your Will".

Marta Semion and Miguel Mendes

 

Pedagogical Team ESTC

Branch of Actors Álvaro Correia, João Henriques, Peter Michael Dietz

Ramo of Design of Cena João Calixto, Stéphane Alberto

Production Ramo Andreia Carneiro, Conceição Mendes, Miguel Cruz, Teresa Varela

ESTC Production Office Conceição Costa, Rute Reis

Thanks Diogo Zózimo, Sofia Ramos, Ana Miffon, Irina de Falco, Rafael dos Santos, Sergio Loureiro, Mariá Bombardelli, Julia Junqueira

Letivo year 2020/2021