...

música de embalar

You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes you might find
You get what you need


Rolling Stones

hungry for your touch

jan saudek, 1971

Parabéns Ibsen

Casa de Bonecas
Excerto do final do III Acto

está em inglês
(foi o que consegui encontrar em poucos minutos na net)




HEL. It’s shocking. This is how you would neglect your most sacred duties.

NORA. What do you consider my most sacred duties?

HEL. Do I need to tell you that? Are they not your duties to your husband and your children?

NORA. I have other duties just as sacred.

HEL. That you have not. What duties could those be?

NORA. Duties to myself.

HEL. Before all else you are a wife and a mother.

NORA. I don’t believe that any longer. I believe that before all else I am a reasonable human being just as you are—or, at all events, that I must try and become one. I know quite well, Torvald, that most people would think you right and that views of that kind are to be found in books; but I can no longer content myself with what most people say or with what is found in books. I must think over things for myself and get to understand them.

HEL. Can you understand your place in your own home? Have you not a reliable guide in such matters as that?—have you no religion?

NORA. I am afraid, Torvald, I do not exactly know what religion is.

HEL. What are you saying?

NORA. I know nothing but what the clergyman said when I went to be confirmed. He told us that religion was this and that and the other. When I am away from all this and am alone I will look into that matter too. I will see if what the clergyman said is true, or at all events if it is true for me.

HEL. This is unheard of in a girl of your age! But if religion cannot lead you aright, let me try and awaken your conscience. I suppose you have some moral sense? Or—answer me—am I to think you have none?

NORA. I assure you, Torvald, that is not an easy question to answer. I really don’t know. The thing perplexes me altogether. I only know that you and I look at it in quite a different light. I am learning, too, that the law is quite another thing from what I supposed; but I find it impossible to convince myself that the law is right. According to it a woman has no right to spare her old dying father or to save her husband’s life. I can’t believe that.

HEL. You talk like a child. You don’t understand the conditions of the world in which you live.

NORA. No, I don’t. But now I am going to try. I am going to see if I can make out who is right, the world or I.

HEL. You are ill, Nora; you are delirious; I almost think you are out of your mind.

NORA. I have never felt my mind so clear and certain as tonight.

HEL. And is it with a clear and certain mind that you forsake your husband and your children?

NORA. Yes, it is.

HEL. Then there is only one possible explanation.

NORA. What is that?

HEL. You do not love me any more.

NORA. No, that is just it.

HEL. Nora!—and you can say that?

NORA. It gives me great pain, Torvald, for you have always been so kind to me, but I cannot help it. I do not love you any more.

HEL. [regaining his composure]. Is that a clear and certain conviction too?

NORA. Yes, absolutely clear and certain. That is the reason why I will not stay here any longer.

HEL. And can you tell me what I have done to forfeit your love?

NORA. Yes, indeed I can. It was to-night, when the wonderful thing did not happen; then I saw you were not the man I had thought you.

HEL. Explain yourself better—I don’t understand you.

NORA. I have waited so patiently for eight years; for, goodness knows, I knew very well that wonderful things don’t happen every day. Then this horrible misfortune came upon me, and then I felt quite certain that the wonderful thing was going to happen at last. When Krogstad’s letter was lying out there never for a moment did I imagine that you would consent to accept this man’s conditions. I was so absolutely certain that you would say to him: Publish the thing to the whole world. And when that was done—

HEL. Yes, what then?—when I had exposed my wife to shame and disgrace?

NORA. When that was done I was so absolutely certain you would come forward and take everything upon yourself and say: I am the guilty one.

HEL. Nora!

NORA. You mean that I would never have accepted such a sacrifice on your part? No, of course not. But what would my assurances have been worth against yours? That was the wonderful thing which I hoped for and feared, and it was to prevent that that I wanted to kill myself.

HEL. I would gladly work night and day for you, Nora—bear sorrow and want for your sake. But no man would sacrifice his honor for the one he loves.

NORA. It is a thing hundreds of thousands of women have done.

HEL. Oh, you think and talk like a heedless child.

NORA. Maybe. But you neither think nor talk like the man I could bind myself to. As soon as your fear was over—and it was not fear for what threatened me but for what might happen to you—when the whole thing was past, as far as you were concerned it was exactly as if nothing at all had happened. Exactly as before, I was your little skylark, your doll, which you would in the future treat with doubly gentle care because it was so brittle and fragile. [Getting up.] Torvald—it was then it dawned upon me that for eight years I had been living here with a strange man and had borne him three children. Oh, I can’t bear to think of it! I could tear myself into little bits!
HEL. [sadly]. I see, I see. An abyss has opened between us—there is no denying it. But, Nora, would it not be possible to fill it up?


NORA. As I am now; I am no wife for you.

HEL. I have it in me to become a different man.

NORA. Perhaps—if your doll is taken away from you.

HEL. But to part!—to part from you! No, no, Nora; I can’t understand that idea.

NORA [going out to the right]. That makes it all the more certain that it must be done. [She comes back with her cloak and hat and a small bag which she puts on a chair by the table.]

HEL. Nora. Nora, not now! Wait till tomorrow.

NORA [putting on her cloak]. I cannot spend the night in a strange man’s room.

HEL. But can’t we live here like brother and sister?

NORA [putting on her hat]. You know very well that would not last long. [Puts the shawl round her.] Good-by, Torvald. I won’t see the little ones. I know they are in better hands than mine. As I am now, I can be of no use to them.

HEL. But someday, Nora—someday?

NORA. How can I tell? I have no idea what is going to become of me.

HEL. But you are my wife, whatever becomes of you.

NORA. Listen, Torvald. I have heard that when a wife deserts her husband’s house, as I am doing now, he is legally freed from all obligations toward her. In any case I set you free from all your obligations. You are not to feel yourself bound in the slightest way, any more than I shall. There must be perfect freedom on both sides. See, here is your ring back. Give me mine.
HEL. That too?

NORA. That too.

HEL. Here it is.

NORA. That’s right. Now it is all over. I have put the keys here. The maids know all about everything in the house—better than I do. Tomorrow, after I have left her, Christine will come here and pack up my own things that I brought with me from home. I will have them sent after me.

HEL. All over! All over! Nora, shall you never think of me again?

NORA. I know I shall often think of you and the children and this house.

HEL. May I write to you, Nora?

NORA. No—never. You must not do that.

HEL. But at least let me send you—

NORA. Nothing—nothing.

HEL. Let me help you if you are in want.

NORA. No. I can receive nothing from a stranger.


HEL. Nora—can I never be anything more than a stranger to you?

NORA [taking her bag]. Ah, Torvald, the most wonderful thing of all would have to happen.

HEL. Tell me what that would be!

NORA. Both you and I would have to be so changed that— Oh, Torvald, I don’t believe any longer in wonderful things happening.

HEL. But I will believe in it. Tell me. So changed that—

NORA. That our life together would be a real wedlock. Good-by. [She goes out through the hall.]

HEL. [sinks down on a chair at the door and buries his face in his hands]. Nora! Nora! [Looks round and rises.] Empty! She is gone. [A hope flashes across his mind.] The most wonderful thing of all—?

[The sound of a door shutting is heard from below.]

what you see is what you get

Escher

memória

foi assim. foi há tanto tempo. noutra vida, quase.


uma mão

o calor

confusão

o céu cinzento

movimentos bruscos

o barulho

e a música.

um doce que me foi oferecido,
frank sinatra "under my skin"

naquela tarde
lenta
estúpida
violenta

quando alguém me cantou o "my way"
fiquei finalmente em paz.

nunca saberá como foi importante
este "stranger" quase "in the night"

para ele
obrigada

plano de fuga

here comes the sun

apanhei agora mesmo uma chuvinha deliciosa
e paradoxalmente lembrei-me deste clássico

nothing to be done

a lua continua bonita hoje
menos cheia, mas intensa
como um queijo a que alguém roubou uma fatia
e tirou proveito dela


encontrei um amigo
apaixonado
que bom é ver amigos apaixonados!

depois fui ver didi e gogo
no ciclo de filmes de beckett

no fim encontrei com quem conversar
é sempre bom conversar

(nothing to be done... )

aqui fica mais um excerto do magnífico pessimismo de beckett
está em inglês
(o filme também não tinha legendas, mas estava tudo nos actores)


The light suddenly fails. In a moment it is night. The moon rises at back, mounts in the sky, stands still, shedding a pale light on the scene.

VLADIMIR:
At last! (Estragon gets up and goes towards Vladimir, a boot in each hand. He puts them down at edge of stage, straightens and contemplates the moon.)

What are you doing?

ESTRAGON:
Pale for weariness.

VLADIMIR:
Eh?

ESTRAGON:
Of climbing heaven and gazing on the likes of us.

VLADIMIR:
Your boots, what are you doing with your boots?

ESTRAGON:
(turning to look at the boots). I'm leaving them there. (Pause.) Another will come, just as . . . as . . . as me, but with smaller feet, and they'll make him happy.

VLADIMIR:
But you can't go barefoot!

ESTRAGON:
Christ did.

VLADIMIR:
Christ! What has Christ got to do with it. You're not going to compare yourself to Christ!

ESTRAGON:
All my life I've compared myself to him.

VLADIMIR:
But where he lived it was warm, it was dry!

ESTRAGON:
Yes. And they crucified quick.
Silence.

VLADIMIR:
We've nothing more to do here.

ESTRAGON:
Nor anywhere else.

VLADIMIR:
Ah Gogo, don't go on like that. Tomorrow everything will be better.

ESTRAGON:
How do you make that out?

VLADIMIR:
Did you not hear what the child said?

ESTRAGON:
No.

VLADIMIR:
He said that Godot was sure to come tomorrow. (Pause.) What do you say to that?

ESTRAGON:
Then all we have to do is to wait on here.

VLADIMIR:
Are you mad? We must take cover. (He takes Estragon by the arm.) Come on.
He draws Estragon after him. Estragon yields, then resists. They halt.

ESTRAGON:
(looking at the tree). Pity we haven't got a bit of rope.

VLADIMIR:
Come on. It's cold.
He draws Estragon after him. As before.

ESTRAGON:
Remind me to bring a bit of rope tomorrow.

VLADIMIR:
Yes. Come on.
He draws him after him. As before.

ESTRAGON:
How long have we been together all the time now?

VLADIMIR:
I don't know. Fifty years maybe.

ESTRAGON:
Do you remember the day I threw myself into the Rhone?

VLADIMIR:
We were grape harvesting.

ESTRAGON:
You fished me out.

VLADIMIR:
That's all dead and buried.

ESTRAGON:
My clothes dried in the sun.

VLADIMIR:
There's no good harking back on that. Come on.
He draws him after him. As before.

ESTRAGON:
Wait!

VLADIMIR:
I'm cold!

ESTRAGON:
Wait! (He moves away from Vladimir.) I sometimes wonder if we wouldn't have been better off alone, each one for himself. (He crosses the stage and sits down on the mound.) We weren't made for the same road.

VLADIMIR:
(without anger). It's not certain.

ESTRAGON:
No, nothing is certain.
Vladimir slowly crosses the stage and sits down beside Estragon.


VLADIMIR:
We can still part, if you think it would be better.

ESTRAGON:
It's not worthwhile now.
Silence.

VLADIMIR:
No, it's not worthwhile now.
Silence.

ESTRAGON:
Well, shall we go?

VLADIMIR:
Yes, let's go.

They do not move.
Curtain.

lua de sábado

over the rainbow

waiting for godot

acabei de saber isto:

waiting for godot
pelo teatro meridional
no pequeno auditório do ccb
de 18 a 21 de maio

com encenação e interpretação de miguel seabra
e o antónio fonseca no pozzo
são grandes as expectativas!




http://www.ccb.pt

solidariedade

porque também por cá a criatividade se transforma em solidariedade

aqui fica um sítio para visitar:


http://www.espacot.pt

palhaços

acho que um dia destes me inscrevo como voluntária para as férias!

http://www.clowns.org/

peer gynt

para os meus amigos "peers"
aqui fica uma coisa que escrevi há alguns anos
tomada que estava pelas aventuras de ibsen:

Voo directo para o inconsciente.
Viagem ao mais interior do mais interior de nós.
Onde enfrentamos todas as escolhas e recusas.
Numa espiral de consequências, até não ser possível
deixar de encarar a nossa realidade.
Reis de nós próprios, inventamo-nos
entre o que nos sonhamos e o que quiseram fazer de nós.
Um voo turbulento. E libertador.

love (III)

"Love is what makes two people sit in the middle of a bench when there is plenty of room at both ends."

Anómimo

too many mornings

style

"Self-plagiarism is style."

Alfred Hitchcock

post it

não esquecer ir ver em maio no tagv:



Teatro

2, 3 de Maio
A água dorme de noite – GEFAC

11 de Maio
“No natal a gente vem te buscar”, de Naum Alves de Sousa (Brasil), direcção de Fernando Cardozo, 21:30h,

16 de Maio
A última gravação de Krapp, de S. Beckett, direcção de Paulo Duarte e Carlos Apolo, 21:30h,

19 de Maio
Vai e vem, de S. Beckett, exercício de tradução e encenação colectiva, 18:00h,

20 de Maio
Todos os que caem, de S. Beckett, pelo Teatro da Comuna, direcção de João Mota, 21:30h.


Cinema


8, 10, 12 de Maio
Extensão a Coimbra do IndieLisboa 2006



CineBeckett (Beckett em filme)

De 15 a 25 de Maio
Film, com interpretação de Buster Keaton, na sala branca

15 de Maio
Waiting for Godot, 21:30h

17 de Maio
Rough for Theatre I,
Endgame, 21:30

18 de Maio
Act without words,
Krapp’s last tape,
Rough for theatre II, 21.30

19 de Maio
Act without words II,
Happy days, 21:30


22 de Maio
Play,
Come and go,
Breath,
Not I,
That time,
Footfalls, 21:30

23 de Maio
A Piece of Monologue,
Ohio Impromptu,
Rockaby,
Catastrophe,
What Where, 21:30


Música

25 de Maio
Legendary Tiger Man
http://www.legendarytigerman.com/

meia noite

nasci à meia noite e cinco minutos e a minha mãe diz que já em bebé tinha os "sonos trocados", por isso não estranho o "resultado"... talvez seja a justificação para estar ainda acordada, adiando a chegada da manhã e do trabalho...

You Are Midnight

You are more than a little eccentric, and you're apt to keep very unusual habits. Whether you're a nightowl, living in a commune, or taking a vow of silence - you like to experiment with your lifestyle. Expressing your individuality is important to you, and you often lie awake in bed thinking about the world and your place in it. You enjoy staying home, but that doesn't mean you're a hermit. You also appreciate quality time with family and close friends.

What Time Of Day Are You?

maio

"Partem em Maio daqui,
Quando o sangue novo atiça:
Parece-te que é justiça?"


Gil Vicente, Auto da Ìndia

não equecer:

quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;quando não sei o que fazer, não faço nada;