Teatro e Marionetas de Mandrágora
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Flight Nostalgia

how can we truly live without freedom?

M.3 . 00h50
Flight NostalgiaFlight Nostalgia
Birds are a symbol of freedom; however, that freedom is often not guaranteed. Enormous cages rise up to deprive them of their liberty, and without freedom, there is no song—they lose their very essence. These prisons reflect the human condition, which is often found trapped for physical or emotional reasons. Prisons that are either visible or invisible.
In this performance, we reflect on this condition in order to find ways to guarantee freedom for everyone.

Art in the community has the power to provide sensory, emotional, and creative experiences, encouraging the joining of forces and collective movement.
Over several years, Teatro e Marionetas de Mandrágora has dedicated itself to developing distinct artistic programs and projects that involve and engage the community. Whether by integrating them into the organization's creative acts or by empowering different communities with an expressive and creative medium, we use puppetry as a generative force for art in dialogue.

collaborators . partners . co-producers

video

art

ARTISTIC DIRECTION Mónica Amaral
STAGING Clara Ribeiro
PUPPETRY DIRECTION Filipa Mesquita
PERFORMANCE Carlos Silva, Clara Ribeiro, Diana Silva, Elisabete Pereira, Filipe Oliveira, Firmino Matos, Isabel Resende, Joana Sousa, Joaquim Henriques, João Barros, Marcos Ascenção, Margarida Beirão, Maria Adelaide Teixeira, Paulo Nogueira, Pedro Pereira, Sofia Anjos, Tiago Moutela, Vera Santos, Zelinda Moutela
PUPPETS AND MASKS Alexandre Guaraci, Clara Ribeiro, Rúben Gomes
SET Migvel Tepes
MUSIC Hélder Duarte
COSTUMES Ana Paula Sardão, Patrícia Costa, Tiago Moutela, Zelinda Moutela
PRODUCTION Cerciesta
COPRODUCTION Teatro e Marionetas de Mandrágora
EXECUTIVE PRODUCTION João Barros, Mónica Amaral
SUPPORT DiferenciArte

download

IMAGERY ARCHIVE PROMO 446.8 KB

PROMO DOSSIER - EN 1.4 MB
PROMO DOSSIER COMPRESSED - EN 588.7 KB

community project

The impact of artistic work on the community allows us to consider it an excellent tool for empowering vulnerable individuals. Several projects implemented by different artistic organizations lead us to conclude that there are integrative behavioral improvements in the community.
Government support for the development of various programs in this area is an important facilitating factor for various associations and institutions that actively address this issue, creating social development projects through art.
“The concept of Education through Art has been the subject of reflection by some educators, philosophers, and even historians, fitting into the emergence of ‘new values and concepts’ in contexts of social, economic, and ideological transformation. Thus, several writings have emerged, nationally and internationally, as a product of concern and reflection.” (Meira, 2015).
In line with this thinking, the work presented demonstrates the importance of artistic practice in communities that welcome individuals with different vulnerabilities, from different age groups.
Although Morin has a very clear view of our thought process and its “hidden principles,” his view of things and the world is distorted by beliefs and, above all, by the goal of lifting the veil on a widespread belief that individuals in situations of vulnerability only enjoy artistic contact as social positivism, without this being properly analyzed. The creator of art and their creative potential are fundamental in these socially segregated communities. (Morin, 2005)

shown at

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