Preparação de envolvimentos: a cortina da entrada (no chão) e rolos de poemas (na parede, à direita).Preparation of the involvements: the entrance curtain (on the floor) and the rolls of poems (on the wall, to the right).Preparação no Clube de Teatro 1º Acto.Preparing at Clube de Teatro 1º Acto.Pintura de poemas em rolos de papel.Painting poems on paper rolls.Pintura de poemas.Painting poems.Ernesto de Sousa e o actor Pena Viçoso durante um ensaio.Ernesto de Sousa and the actor Pena Viçoso during rehearsal.Jorge Peixinho durante um ensaio.Jorge Peixinho during rehearsal.Ernesto de Sousa e António Borga durante o ensaio.Ernesto de Sousa and António Borga during rehearsal.Jorge Peixinho durante um ensaio.Jorge Peixinho during rehearsal.Ensaio de música e projecções (Ernesto de Sousa e Jorge Peixinho).Music and projections rehearsal (Ernesto de Sousa and Jorge Peixinho).Ensaio de música e projecções (António Silva e Clotilde Rosa).Music and projections rehearsal (António Silva and Clotilde Rosa).Cortina de entrada.The entrance curtain.Cortina impressa com um poema de Almada Negreiros.Curtain printed with a poem by Almada Negreiros.Desenrolar dos rolos de poemas durante a apresentação.Unrolling the poems during presentation.Peter Rubin a registar as filmagens de "Havia um Homem que Corria", 1968.Peter Rubin recording the making of "Havia um Homem que Corria", 1968.Jorge Peixinho dirige a improvisação do público.Jorge Peixinho directs the public in an improvised music session.Sessão de improvisação com participação do público, dirigida por Jorge Peixinho. Na assistência, Ernesto de Sousa sentado ao lado de Almada Negreiros.Improvised music session with audience participation, directed by Jorge Peixinho. In the audience, Ernesto de Sousa sitting next to Almada Negreiros.Jorge Peixinho dirige o público. À direita, Alexandra Ribeiro e Vítor Pomar.Jorge Peixinho directs the audience. On the right, Alexandra Ribeiro and Vítor Pomar.Jorge Peixinho dirige o público. À direita, Fernando Mascarenhas e Francisco Madeira Luís.Jorge Peixinho directs the audience. On the right, Fernando Mascarenhas and Francisco Madeira Luís.Cartaz, Carlos Gentil-Homem, 1969.Poster, Carlos Gentil-Homem, 1969.Diapositivo projectado na apresentação.Slide projected in the presentation.Diapositivo projectado na apresentação.Slide projected in the presentation.Filmagens de Happy People, com Marilyn Reynolds e Peter Rubin, 1968.Filming Happy People with Marilyn Reynolds and Peter Rubin, 1968.Filmagens de Happy People, com Marilyn Reynolds e Peter Rubin, 1968.Filming Happy People with Marilyn Reynolds and Peter Rubin, 1968.Diapositivo projectado na apresentação.Slide projected in the presentation.Diapositivo projectado na apresentação.Slide projected in the presentation.Filmagens de Havia um Homem que Corria, 1968.Filming Havia um Homem que Corria, 1968.Filmagens de Havia um Homem que Corria, 1968.Filming Havia um Homem que Corria, 1968.Almada conversa com Rogério de Moura e Óscar Lopes na audiência.Almada chats with Rogério de Moura and Óscar Lopes in the audience.Cartaz, Fernando Calhau, 1969.Poster, Fernando Calhau, 1969.Distribuição de cartazes de Fernando Calhau, com um excerto d'A Invenção do Dia Claro de Almada Negreiros pelo público.Posters by Fernando Calhau with an excerpt of Almada's A Invenção do Dia Claro are distributed among the audience.Oferta de cartaz a Almada Negreiros. Sentados à sua esquerda, Marilyn Reynolds e Peter Rubin.Almada Negreiros is offered a poster. Sitting to his left, Marilyn Reynolds and Peter Rubin.Pormenor do cartaz.Detail of the poster.
Mixed media, or poetic communication exercise, 1969. Includes slide (black & white and color) and film (Super 8, black & white and color, silent) projections, involvements, actions, poem reading, musical improvisation, playback of music and recorded texts. Variable duration.
Presented at Clube de Teatro 1º Acto, Algés, December 1969.
We made posters that must be completed by the user, sculptural objects that will be given variable shape by the visitor of the exhibitions, and the theaters mix actor and spectator, inciting the latter to participate in the show. (...) We want a choral work, we want to laboratorially analyze, in depth and extension, the ways of enriching convivial gathering. We want to destroy individual – the exact one that the theater spectator encounters after applauding the actors of any regular show. Therefore our exercise doesn't end, or rather it ends not in applauses but in a supper through which – and in the life that follows – we intend to continue a gathering and an always diverse communication.
Ernesto de Sousa, "Um Exercício de Comunicação Poética", Vida Mundial, nr. 1588, November 14th, 1969.
The script for this mixed media follows the structure of Almada Negreiros' Invenção do Dia Claro. Part of this exercise was filmed to be included in Almada, Um Nome de Guerra.
Script and direction by Ernesto de Sousa. Music composition and direction by Jorge Peixinho featuring musicians António Silva, Helena Cláudio and Clotilde Rosa. Poems by Almada Negreiros, Mário Cesariny, Herberto Helder and Luiza Neto Jorge, read by António Borga, João Luís Gomes, Madalena Pestana and Pena Viçoso. Tecnical support and participation of Clube de Teatro 1º Acto (Francisco Madeira Luís, José Luís Madeira and José Torres) and members of the Oficina Experimental (Carlos Gentil-Homem, Filomena Fernandes, Isabel Alves, Manuel Torres, Maria Manuel Torres, Marilyn Reynolds, Peter Rubin and Teresa Pacheco Pereira). Films Happy People and Havia um Homem que Corria by Ernesto de Sousa and Carlos Gentil-Homem from 1968. Slides by Ernesto de Sousa and Carlos Gentil-Homem. Lighting by Fernando Calhau. Posters by Fernando Calhau and Carlos Gentil-Homem.