Creation through Dialogue

Interpretation and Voice Direction in Turismo Infinito

Authors

DOI:

https://doi.org/10.26512/vozcen.v6i01.58259

Keywords:

Poetics of Voice, Encounter, Mental Imagery, Pessoa, Dialogue

Abstract

This article proposes a dialogical reflection between an actor and a vocal director during the creation process of the show Turismo Infinito (2007). Based on the poetic prose of The Book of Disquiet, by Fernando Pessoa/Bernardo Soares, voice and text work is analysed within the conceptual perspective of the encounter. The aim is to highlight the ways through which collaboration leads the creative research, establishing a field that enables the emergence of novelty; how trust consolidates a creative affective vocabulary, where poetic imaginary is expressively voiced and transformed into living presence on stage; culminating in a reflection on how this work has developed and expanded through the various replays of the show.

Author Biographies

  • João Henriques, School of the Arts and Humanities of the University of Lisbon

     

    João Henriques is a Portuguese vocal director, voice teacher and opera director, with collaborations in more than fifty new theatre/opera productions. He teaches at the Lisbon Theatre & Film School and holds a master, two post-graduate and two bachelor degrees, from Voice Performance to PoliSci.

    He’s a Phd student in Theatre Studies, at the School of Arts and Humanities of the University of Lisbon, researching the relevance of Voice Direction in theatre creation, namely the processes of expanding corporeal voice and text awareness with the actor.

  • José Eduardo Silva, Centro de Estudos Humanísticos, Universidade do Minho, Braga, Portugal

    JOSÉ EDUARDO SILVA is a performing artist, actor, director, researcher, and Assistant professor in theatre. Graduated in Theatre Studies from the Superior School of Music and Performative Arts of the Polytechnic Institute of Porto (ESMAE – IPP) and holds a Ph.D. in Psychology from the Faculty of Psychology and Education Sciences of the University of Porto (FPCEUP). Complementarily completed the Professional Theatre Course from the vocational theatre and dance school Balleteatro E.P. (Porto, Portugal); the Artistic Expertise in Street Theatre Course from the Contemporary Academy of Performance (ACE) vocational school (Porto, Portugal); and, the XII edition of the École de Maîtres International Theatre Course (Udine and Rome, Italy). Co-founder and co-artistic director of the independent theatre company Teatro do Frio since 2005, much of his artistic work has been done in collaboration with various authors, artists, and institutions in countries such as Portugal, Spain, Italy, France, Brazil, and Japan. First experiences regarding involvement in the performative arts (music) date back to 1990, but only in 1994, he engaged in physically based theatre practices that soon led to the practice of contemporary dance. In 1998, became a resident dancer at the Balleteatro Contemporary Dance Company (Porto, Portugal); and in 1999 began to collaborate with the National Theatre of Porto (TNSJ). In 2001, became a resident actor of the Street Theatre Company of Porto 2001ECC. In 2005 worked for half a year at the Teatro Stabile Torino (ITA) under the direction of the theater maestro Giancarlo Cobelli (montage and tour in Italy with Georg Büchner’s "Woyzeck") and at the end of that year joined the resident theatre company of the National Theatre of Porto (TNSJ) until its extinction in 2011. From mid-2011 until early 2013 worked as a resident actor of the theatre company Teatro Oficina, in the context of the Guimarães 2012 ECC. In addition he worked with theatre directors such as Ana Luísa Guimarães, António Durães, Isabel Barros, João Paulo Seara-Cardoso, Jorge Mota, José Carretas, Lautaro Vilo, Nuno Cardoso, Nuno Carinhas, Nuno M. Cardoso, Ricardo Pais, Sanja Mitrovic and Trevor Stuart; as well as cinema directors such as Frederico Serra and Tiago Guedes, Saguenail, José Pedro Sousa and Raquel Freire. As a director we can highlight, for example, his more recente theatre and performative authorial works "Eis o Homem - a partir Ecce Homo de Nietzsche" (Casa das Artes de Famalicão/TNSJ, 2013/2015); "(De)Individuation: (Dis)Concert for Bernard Stiegler" (TeCA, 2016); and "O Outro de Nós" (CCVF, 2018). Between 2015 and 2019, he conducted a postdoctoral research project, with a fellowship awarded by the Foundation for Science and Technology (FCT), intersecting areas of performative arts, theatre, psychological development, education and community intervention.

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v. 06, n.º 01: Dossiê Temático "Diálogos, Encontros e Agenciamentos da Direção Vocal com as Artes Cênicas" - Voz e Cena (jan-jun/2025)

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Published

2025-06-30

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Vol. 6 No. 01: Voz e Cena (jan-jun/2025)

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How to Cite

Creation through Dialogue: Interpretation and Voice Direction in Turismo Infinito. (2025). Voz E Cena (Voice and Scene), 6(01), 12-41. https://doi.org/10.26512/vozcen.v6i01.58259

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