sábado, dezembro 19, 2009

Deutsch zu lernen/Aprender alemão



My answer to Karl's commentary posted yesterday:

Viele Deutsche und Portugiesische haben mich über die Jahre gefragt, wie es ist, Deutsch als Fremdsprache zu lernen. Ich fasse es mal so zusammen: “Es ist, als wenn man mit einem Porsche 911 Carrera 4S auf Glatteis fährt: Man ist sich dessen bewusst, etwas Starkes in der Hand zu haben, aber die komplette Kontrolle fehlt...”

(Muitos alemães e portugueses têm-me perguntado ao longo dos anos, como é aprender Alemão como língua estrangeira. Resumo assim: “É como quando se conduz um Porsche 911 Carrera 4S em condições de gelo: Estamos sempre conscientes de ter algo de poderoso nas mãos, mas nunca estamos completamente em controlo...”

sexta-feira, novembro 27, 2009

Blacklist - Midnight of the Century - Beste Postpunk Gruppe 2009

“Midnight of the Century” ist eines der besten Alben, die ich bisher gehört habe: einfach geil. Es ist klar, dass wir das Album sofort auf eine Stufe mit den Gruppen Psychedelic Furs, Joy Division, The Cure, The Sisters of Mercy, The Chameleons et al stellen können – Die Klasse des Albums wird sich ohnehin erst im Laufe der Zeit herausstellen. Jetzt zumindest ist “Midnight of the Century” das beste Album des Genres “Post-Punk” im Jahr 2009.

video

Seit ein paar Wochen ist “Midnight of the Century” ein Dauergast meines CD-Players. eh eh eh

Ich bin süchtig nach diesem Album!

Wolfgang, vielen Dank für den Tip...

Bewertung:

quarta-feira, novembro 25, 2009

Luis Pires - Poem...

By popular request here goes my favourite:

Há noites assim

Solidão que se instala
Uma praga que se espalha

Coração que dói com o peso
Peso de não sentir o amor
Amordaçado na dor

Olhos que guardam as lágrimas
Que pesam nos olhos
Que rogam para ser vertidas
Que ardem aprisionadas

E choro sem lágrimas
Escorro para dentro
Tudo chega ao coração
Encharcado em dor

Boca cerrada
Sorriso morto

Onde estou eu
Que não me encontro

Onde estou
Morto?

Estou onde não estou
Sou quem não sou
Vou para onde não vou
Sinto o que não sinto

Tudo falso
Tudo perdido
Sem amor
Sem sentido

(Does anyone dare to translate it into English or German...?)

One should read it by listening as well to the voice of Liz Fraser. In my experience both should be enjoyed hand-in-hand. One helps the fruition of the other and vice-versa...

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As soon as I have more information regarding the publication date, I'll post it here.

sexta-feira, novembro 20, 2009

Interview with Luis Pires - A new voice in the portuguese poetic firmament



A good book changes you, even if it’s only to add a little to the building blocks of your mind. It’ll make you laugh and perhaps cry; it should certainly make you think things over. A wonderful book will make you dream in spheres you’ve never dared before, and in the long run it’ll spur you to create something new. By reading these poems I felt something had lit the fires in my mind, it told me truths I had only glimpsed before. That’s what a good book should do, be it poetry, fiction or essay. Books have made me who I am. Little by little we change and grow by reading books. Since I was a little boy I hold as Gospel that we read in order to travel, that is, we want to achieve that sense of otherness that only books can make us feel. Through this we can interrupt the curse of having only one life to lead.

The Poetry of Luis makes me feel that way. No book can have a higher praise that that.

Next follows a written interview conducted at the end of October 2009. In this interview I was curious to explore the genesis of his writing career (among other things).



By the example of the work provided, I think we’re in the presence of a new voice in the Portuguese poetic firmament. Is this the first work published? What lead you to writing? Did you always felt like writing, that is, the “writing bug” was always present in you?

Yes, this is my first published work. I enjoy writing as far as I can remember. I think it all started when I I began to know how to read. We used to have a lot of books in the house and I used to read some of them, specially poetry. I don’t remember the reason, I just read it. One of my first poetry books was a small book with poems by Cesário Verde. I remember that I read it in a few hours. A few years later, in school, I had to read a lot (Eça de Queirós, Florbela Espanca, Luís de Camões, Fernando Pessoa ...) as I was a student of Portuguese Literature in my 12th grade. The pleasure of writing came after my 20’s when I felt I needed to put in paper some feelings and ideas.



Did you always write Poetry or are we talking about a late bloom in terms of creative writing?

Definitely it was a late awakening.

Considering the authors whose writing we might call Poetry, would you choose anyone that could be viewed as an influence upon your own writing? I’m thinking nationally and abroad.

I would have to choose Florbela Espanca just because her poetry as the ability to easily make me enter in her own world. Strangely I also get some king of influence on music. For example, I simply love the lyrics of Mafalda Veiga music.



What is for you the writing of Poetry? Does it come from a inner drive to write to others or do you write for yourself, that is, the publishing act is just a happy follow-up to the Art of Writing, not being something important in itself?
First of all, I think it is an expression of myself, of my feelings towards life and persons who are important to me. For a long time, i was the only person who could read my work. I didn’t showed it to anyone. Just in 2008 I decided do publish some of my poems in the internet, in a time that I need to speak to myself and to materialize in some way some of my dreams and fears.

By the sample made available, I got the impression that your writing comes from inner and outer experiences, that is, it’s not something attained by just going for the intellectual exercise. Is that so?


I just write because I enjoy it so much. If I don’t take pleasure in it, I don’t do it. But if I had the time, I would continue to investigate as I did in some point of my life, everything about it. There’s a lot we can improve just by trying to understand what other people tried to say in their work.

Can we identify leitmotivs in your writing, that is, recurring themes that drive you to the writing spell?

Feelings. Just feelings. About life, about people, about dreams. Bottom line: it all leads to “believing”. I think that we all are losing the ability to believe.



It’s quite noticeable nowadays that the big international publishing houses are now taking a closer look at Poetry as an emerging market and not just because it’s fashionable to have a few books in print that can be considered as Poetry, that is, the main drive in publishing Poetry doesn’t rely solely on the fact that they want to look good in the picture. Do you agree with this, that is, even taking into account that Portugal has always been a country of Poets, is it noticeable nowadays that there’s an Opening-Of-Minds where the publishing of Poetry in Portugal is concerned, that allows more works to come into the open?

For what I was able to see, in Portugal is very difficult to sell poetry. By some reason, bookstores are not interested. At least, that’s what editors tell me. Despite this, I’ve decided to publish, just by the joy that I’m going to take by knowing that somewhere, someone could have the chance to read one of my poems and in some way, be able to identify him or herself with it means.



When will this work see the light of day in terms of publishing? Besides this have you got something else in the pipes? Will it also be Poetry or will you harvest other literary fields?

I hope that it can go to the bookstores just before new year but most probably it will be presented in January [it'll be published in the 2nd week of December]. I’d like to write a romance in 2010 and I even have some notes for it, but I don’t have much spare time to do it so who knows? I also didn’t have time to write this book and there it is… 

How did the opportunity to publish come about?

I was very simple. I just gathered my poems and send them to two editors. After a month or so I received two proposals and decided for the one I considered more interesting, taking two factors in consideration: cost (yes, I will have to pay part of the editing process) and distribution / publishing possibilities.



How do you see the current writing endeavours in Portugal (literary and publishing wise)? Are there any other up-and-coming writers that we should watch out for?

I really don’t know, right now I’m just seeing some public figures publishing some romances, but I still didn’t have the time to get an opinion…

How do you write? At home? At the café? At night? Have you got a writing schedule?


Anywhere bust mostly at night or early in the morning. Those are the times where I can take a moment to understand what is happening in my life and reorganize ideas in my head. Sometimes, that thinking drives to a poem, a sentence or some kind of writing.

Last but not least, are there any books or author that you would take with you to the proverbial Desert Island?

I leave you with a list of authors:
Fernando Pessoa, Florbela Espanca, Cesário Verde, Almeida Garrett, António Lobo Antunes, Eça de Queirós, Milan Kundera, Patrick Süskind, Nicholas Sparks e tantos outros…



I would like to end this interview by asking whether you could leave us with some words and tips of advice to all the aspiring writers that have not been able to publish yet. Anything worth talking about?

First of all, enjoy. It doesn’t matter if you write better or worse, just take a kick out of it. And in second, believe! Because if you really believe in something, you have always the possibility to make it real.

Please feel free to leave your comments.

As soon as possible I intend to post here one of his poems that means something to me...

The book is entitled "Para Ti" ("To you") and is scheduled to be out by the 2nd week of December. Watch out for it. It's worth while.

quinta-feira, setembro 10, 2009

The Magic Mountain by Thomas Mann



I finally got round to trying the English translation of "Der Zauberberg" (by H.T. Lowe-Porter). By chance I came upon it in the FNAC bookstore, and I bought it.

It's also been recently published the first European Portuguese translation of this book made directly from the German ("A Montanha Mágica" by Gilda Encarnação), and I thought it would be a good idea to read the English translation prior to that. I've wanted to do that for a long time.

To do this I had first to read the original, because I wanted to have it crystal clear in my mind. I still feel that nothing comes close to it. I had read it in German some time ago. Now it was the time to renew its acquaintance in the original...

Unfortunately the English translation by H.T. Lowe-Porter came up short. The translation is very stilted and heart-brokening for me in consequence. An example from the very beginning of the book (page 4):

"An unassuming young man was travelling, in midsummer, from his native city of Hamburg to Davos-Platz in the Canton of the Grisons, on a three weeks’ visit.
From Hamburg to Davos is a long journey—too long, indeed, for so brief a stay. It crosses all sorts of country; goes up hill and down dale, descends from the plateau of Southern Germany to the shore of Lake Constance, over its bounding waves and on across marshes once thought to be bottomless."

The original:

"Ein einfacher junger Mensch reiste im Hochsommer von Hamburg, seiner Vaterstadt, nach Davos-Platz im Graubündischen. Er fuhr auf Besuch für drei Wochen.
Von Hamburg bis dort hinauf, das ist aber eine weite Reise; zu weit eigentlich im Verhältnis zu einem so kurzen Aufenthalt. Es geht durch mehrerer Herren Länder, bergauf und bergab, von der süddeutschen Hochebene hinunter zum Gestade des Schwäbischen Meeres und zu Schiff über seine springenden Wellen hin, dahin über Schlünde, die früher für unergründlich galten."

Problems with the english version:

• The translation of the word "Gestade" is not properly conveyed in English. "Der Gestade" projects us back in time, whereas the word "shore" is sufficiently common and conversational in English not to to be able to transports us to another epoch;
• Omission of "zu Schiff" (by boat) in English, which spoils the general effect of the sentence;
• The first and second sentences are integrated into a single one, rendering by that process a compactness of the sentence structure in English, loosing the poetic and incantatory charm of the German version.

More problems found while plodding along:

• Rearrangement of the original's sentence structure;
• Omission of words present in the original;
• Adding up of words not present in the original;
• Omission of adjectives.

It goes without saying that I wasn't able to finish the English version...

I'm looking forward to reading the Portuguese version. I hope it brings justice to the original.

We need an European-Portuguese version that it’s not found wanting. As soon as I get round to read it, I'll post something here.

terça-feira, julho 07, 2009

Federer15


“I tried for you Pete, I tried to hold him off. I'm sorry,” joked Andy Roddick after the final, when addressing Peter Sampras, who was in the stands at Wimbledon watching.... eh eh eh

segunda-feira, junho 08, 2009

Federer14

Form is temporary, class is permanent and that's what Federer has and the rest of the pack doesn't... the backhand worked beautifully at the 2009 Roland Garros final! At last!

Rafa eat your heart out! lol

segunda-feira, maio 04, 2009

"Faith And The Muse"

After all these years still one of the best...

Listen, enjoy and weep!





sexta-feira, abril 24, 2009

The language of the book "Tod in Venedig"/"Death in Venice" by Thomas Mann










I finally decided to tackle Thomas Mann’s work. My first contact with him took place when I was preparing myself for the ZMP Certification in German. We were able to read in class some excerpts from his main books : “Buddenbrooks”, “Der Zauberberg”, “Tonio Kröger”, and so on. What I remember most from those texts was the extreme difficulty of understanding some passages. Some of his vocabulary belongs to another level, that it’s no longer used today (let alone by German writers of today). Another trait of his writing is his ability to write long and encapsulated sentences without losing meaning. That’s the feature that I remember the most.





The German language has a very distinctive feature that sets it apart from the rest of the languages that I know, that is, its ability to place the German verb at the end of a subordinate clause. If the subordinate clause is very long, there’s the danger that at the end of it one no longer remembers the beginning! On top of that imagine the difficulty when one uses encapsulated subordinate sentences, also known as "Bandwurmsätze"… It’s a case of meaning within meaning, just like a Pandora box. Sometimes one has to read the same sentence over and over just to make sure that the underlying meaning was perceived! It goes without saying that reading one of Mann’s work can be very tiring and trying. It’s like climbing a steep slope, with the promised land just on the other side. In German classes it was usual to have very hot debates about why he had to use this kind of structure (called hypotactic or embedded subordinate constructions) to convey meaning. I have to say that despite the difficulty, the rewards of being able to grasp the meaning of his texts was a bonus in itself. We had the feeling of having accomplished something worth attaining at the end of each passage.





One of the chief characteristics of the German language is his fairly free word order. The sentence is arranged about the verb, which is the second element in a normal assertion (except in some types of subordinate clauses, where it’s placed at the end, thus giving it a place where it can stand out and acquire special meaning). In the first place comes what the speaker regards as specially important. The following sentence may, for example, be expressed in four different ways:

1. Er hat das vielleicht gesagt, aber er hat es gewiss nicht gemeint
He said that perhaps, but he certainly did not mean it;

2. Das hat er vielleicht gesagt, aber er hat es gewiss nicht gemeint
That he said perhaps, but he certainly did not mean it;

3. Vielleicht hat er das gesagt, aber gewiss hat er es nicht gemeint
Perhaps he said that, but certainly he did not mean it;

4. Gesagt hat er das vielleicht, aber gemeint hat er es nicht gemeint
Said that he has perhaps, but mean it he certainly did not.

Every sentence which has an object may be introduced by this object, without having to use the passive, as one must do in English. The emphasis is therefore in the beginning of the sentence, the information follows in the sequel, at the centre stands the core of the sentence, the verb. German can also be seen as a dynamic language, in which activity, becoming, development are emphasized more than the static state. German is also characterized by a very strong sense of concreteness, compactness and expressiveness. One can express both the activity and the success of an activity with the same verb: “das kann man nicht wegdenken” (one cannot think that away), “Er hat sein Geld vertrunken” (he has drunk away his money).



Recently I dug up one of the books by him that I had bought (but not read) at the time when I was still attending school and I promised myself that I’d try and make-or-tails of it. The book in question was : “Tod in Venedig” (“Death in Venice”). I’ve just finished it and I’m totally flabbergasted by it. My curiosity kept me pushing forward, word by word, sentence by sentence, page by page. I think that now I was able to appreciate him more that I did when I was in school. When reading his texts some “adjectives” come to mind, some of them I’ve already stated: descriptive intensity, wordiness, compactness, longwindedness, hard-to-grasp, and so on.



Mann’s work has some very beautiful examples that we can use to illustrate what I stated above, ie, compactness, vividness, and so on:

Es saβ dort, der Meister; der würdig gewordene Künstler, der Autor des “Elenden”, der in so vorbildlich reiner Form dem Zigeunerturm und der trüben Tiefe abgesagt, dem Abgrunde die Sympathie gekündigt und das Verworfene hatte, der hochgestiegene, der Überwinder seines Wissens und aller Ironie entwachsen, in die Verbindlichkeiten des Massenzutrauens sich gewöhnt hatte, er, dessen Ruhm amtlich, dessen Name geadelt war und an dessen Stil die Knaben sich zu bilden angehalten werden, - er saβ dort, seine Lider waren geschlossen, nur zuweilen glitt, rasch sich wieder verbergend, ein spöttischer und betretener Blick seitlich darunter hervor, und seine schlaffen Lippen, kosmetisch aufgehört, bildeten einzelne Worte aus vom dem, was sein halb schlummnerndes Hirn an seltsamer Traumlogik hervorbrachte.

“He sat there, the master, the artist who had attained dignity, the author of “A Miserable Man”, who in such exemplarily pure form had renounced bohemianism and the murky depths, had refused his sympathy for the abyss and had vilified vileness; the man who had outgrown all irony, who had grown accustomed to the obligations imposed by the confidence of the masses; he whose fame was official, whose name had been ennobled and whose style boys were impelled to take as a model – he sat there, his eyes closed; only occasionally did a mocking and embarrassed sidewise glance escape from beneath their lids and quickly hide itself again; and his slack lips, cosmetically heightened, shaped isolated words out of the thoughts, the strange dream-logic, of his half-slumbering brain."

As a literal translation this works perfectly, but not in a literary way! A proper writer would translate it differently, using a more prose-poetic-oriented form. Mann could write prose with a poetic tone, which makes it a lot harder to translate into another language.”



Some more examples out of the book illustrating language compactness via substantiveness (“Nominalisierung”):

“Dennoch fehlte es nicht an Augenblicken des Innehaltens und der halben Besinnung.” (“And yet there were still some moments when he paused and came halfway to his senses.”)

“Wer begreift die tiefe Instinktverschmelzung von Zucht und Zügellosigkeit, worin es beruht?”
(“Who understands the deep-lying instinctive blend of discipline and lack of restraint on which it is founded?”)

An example devised by me concerning embedded subordinate clauses ("Bandwurmsätze"), which Mann and other writers (e.g., Thomas Bernhard, Heinrich von Kleist, Günther Grass, Goethe, Heinrich Heine) frequently use:

“Die Läden, die sich an dem Weg, der von dem Platz, der vor dem Kino liegt, abgeht, befinden, werden abgerissen.”



The use of embedded subordinate clauses can be used as the following devices:

1. More density in the information conveyed, thus allowing a higher degree of precision;

2. Mental picture of the text more vivid;

Another example of a very loooooooong sentence taken from the book and indented for a clear reading(page 8):

„Zumal seit sein Leben sich langsam neigte,

seit seine Künstlerfurcht,

nicht fertig zu werden,

- diese Besorgnis,

die Uhr möchte abgelaufen sein,

bevor er das Seine getan und völlig sich selbst gegeben,

nicht mehr als bloße Grille von der Hand zu weisen war,

hatte sein äußeres Dasein sich fast ausschließlich auf die schöne Stadt,

die ihm zur Heimat geworden,

und auf den rauhen Landsitz beschränkt,

den er sich im Gebirge errichtet

und wo er die regnerischen Sommer verbrachte.“




In english it would look something like this:

"And now, most of all,

when his life was approaching its close and

he could no longer dismiss as a mere fancy his fear,

shared by every artist,

that he might not complete his life's work,

that his clock might run down before he had accomplished what was in him and

had given all of himself,

his external existence had been confined almost exclusively to the beautiful city

that had become his home and to the simple country villa which he had built for

himself in the mountains and where he spent the rainy summers."



There’s a fundamental, psychological difference between the Anglo-Saxon and Germanic vision of the world, that is, they look at things differently. The Anglo-Saxons put the emphasis on the clarity of the texts, the Germans on the other hand have a tendency to be more rigorous. What the English perceive as “plain writing”, the Germans perceive as “sloppy writing”.



Another example of an embedded sentence devised “à la Mann” by me:

“Das Tor, das den Weg, der über das Grasland, die zur Schule gehört, führt, freimacht, blockiert”.

This sentence could be phrased using a more plain and clear structure. Two examples:

1. “Über die zur Schule gehörenden Grasland führt ein Weg. Das Tor, das den Weg freimacht, blockiert”.

2. “Das Tor blockiert, das den Weg freimacht, der über das Grasland führt, die zur Schule gehört”.

Mann’s work must be enjoyed as a very rare, delicate and extremely enjoyable delicatesse…We cannot get enough of it! It’s important to celebrate him, not just to read him. The journey of discovery in itself is pure joy.

I think I’m ready to tackle the “Buddenbrooks”, but first I must take a break. Mann is not only a pleasure but also hard work because his work doesn't come as easy as the rest of the pack…

quinta-feira, fevereiro 05, 2009

Concerto Música Antiga (festa de S. Tomás de Aquino) - Vox Canonica

A demanda da música de cariz sagrado coloca desafios próprios: requere humildade e uma vontade de ir para além da simples fruição de uma obra. Música sagrada exige sacrifício e um serviço a Deus e à sua Igreja. As recompensas são consideráveis. Desde os primórdios e através dos muitos músicos que cantaram com a Voz da Igreja, católicos encontraram no Canto Sagrado um vislumbre do céu. É isso que a Liturgia e a Música Sagrada nos podem trazer.

Este concerto no dia 31 de Janeiro que os Vox Canonica nos proporcionaram sob a égide de São Tomás de Aquino foi um deleite para os sentidos. Não foi a primeira vez que os vi e ouvi e são com certeza um dos grupos de música antiga em Portugal que mais tem contribuído para a sua divulgação.

A formação coral de câmara Vox Canonica dedica-se à divulgação da Música Antiga, tendo principalente três vectores como áreas de reportório: canto gregoriano, rito ortodoxo e polifonia do século XV (www.voxcanonica.web.pt). O seu líder espiritual é o maestro João Luis Ferreira.

Quatro peças do concerto:







sexta-feira, janeiro 16, 2009

Festival des Deutschsprachigen Filmes in Lissabon



Ich freue mich ganz besonders Ihnen das Programm des Festivals des deutschen Films vorzustellen:



Wer deutsche Filme mag, hat eine grosse Möglichkeit die deutsche Sprache zu üben und deutsche Filme anzusehen!

sexta-feira, janeiro 09, 2009

Welche Nation hat das beste Image?

Bestes Image für Deutschland.

Das ist das Ergebnis des Anholt-GfK Nation Brands Index (NBI).

Anholt-GfK Roper Nation Brands Index 2008 Ranking (insgesamte Klassifizierung):



Bestimmte Klassifizierungen:



Die Hoffnung Portugals stirbt zuletzt...

quarta-feira, janeiro 07, 2009

Favourite German-speaking Poets

I’ve been asked this a couple of times, but it’s impossible to answer… They’re so many…

Off the top of my head: Rilke, Heine, Hölderlin, Novalis, Schiller, Brecht, Eichendorff, Goethe, Mörike, Trakl (the poem “De profundis” pops to mind), Enzensberger, …

I’ve recently discovered Peter Handke’s Poetry. It’s not only the Prose that is worth praising I can assure you. Those of you who want to discover a “new” voice in the German-speaking Poetry Firmament look no further. His Poetry has modern tendencies (e.g., experimentation with language), which I believe will not be everyone’s cup of tea. Nevertheless the rewards are worth pursuing. “Gedicht an die Dauer” (“Poema à Duração”) where the continuity of time represents the main theme is one of my personal favourites. This poem proves that not only his prose, film scripts and theater plays should be read but his Poetry as well.

Befitting the festivities here goes two German poems/songs, one for Christmas (by Karl Bartsch) the other one for the New Year (by von Hebel):

Weihnachtslied

Ein Kindlein ist gekommen
Vom hohen Himmelssaal,
Das hat hinweggenommen
Der Erde Weh und Qual.

In einer Krippe liegen
Sieht man das Gotteskind,
In dem sich niederbiegen
Der Esel und das Rind.

Damit wir Frieden hätten
Von unsrer Sünde Last,
Ließ sich so niedrig betten
Der königliche Gast.

Da hörten frohe Märe
Die Hirten auf dem Feld,
Daß uns geboren wäre
Der Heiland aller Welt.

Des Dankes Lieder klangen
Zum Himmel nah und fern;
Viel Tausend Englein sangen:
Lob, Ehr' und Preis dem Herrn!

(Karl Bartsch)

Neujahrslied

Mit der Freude zieht der Schmerz
traulich durch die Zeiten.
Schwere Stürme, milde Weste,
bange Sorgen, frohe Feste
wandeln sich zur Seiten.

War´s nicht so im alten Jahr?
Wird´s im neuen enden?
Sonnen wallen auf und nieder,
Wolken gehn und kommen wieder,
und kein Wunsch wird´s wenden.

Und wo eine Träne fällt,
blüht auch eine Rose.
Schön gemischt, noch eh wir´s bitten,
ist für Thronen und für Hütten
Schmerz und Lust im Lose.

Gebe denn, der über uns
wägt mit rechter Waage,
jedem Sinn für seine Freuden,
jeden Mut für seine Leiden
in die neuen Tage.

Jedem auf des Lebens Pfad
einen Freund zur Seite,
ein zufriedenes Gemüte
und zu stiller Herzensgüte
Hoffnung ins Geleite.

(Johann Peter Hebel)

Theater, Gespräch und Theaterabend mit Dea Loher




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Theater und Gespräch mit Dea Loher:

Die deutsche Theaterregisseurin Dea Loher kommt nach Lissabon. Nach der letzten Aufführung des Theaterstückes „Imaculados“ (Unschuld) im Teatro Aberto, am Sonntag, den 11. Januar 2009, spricht Dea Loher mit Vera San Payo de Lemos, João Lourenço, Schauspielern des Teatro Aberto und dem Publikum. Moderation: Joachim Bernauer.

Sonntag, 11. Januar 2009, 16.00 Uhr:
Teatro Aberto

Theaterabend mit Dea Loher:

Die Theatergruppe Artistas Unidos liest Szenen aus Dea Lohers Stücken “Unschuld” und “Tätowierung”, in der portugiesischen Übersetzung von José Maria Vieira Mendes. Anschließend findet eine Diskussionsrunde mit Dea Loher, Vera San Payo de Lemos und José Maria Viera Mendes statt. Es moderiert Jorge Silva Melo.

Dienstag, 13. Januar 2009, 18.30 Uhr:
Goethe-Institut in Lissabon
Nähere Informationen: http://www.goethe.de/ins/pt/lis/ver/de4027602v.htm