{"id":15627,"date":"2024-10-13T15:01:59","date_gmt":"2024-10-13T15:01:59","guid":{"rendered":"https:\/\/hangar.com.pt\/online\/?p=15627"},"modified":"2024-10-13T15:01:59","modified_gmt":"2024-10-13T15:01:59","slug":"eu-mesma-eu-propria","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/online\/eu-mesma-eu-propria\/","title":{"rendered":"Eu mesma, eu pr\u00f3pria"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text]<\/p>\n

Eu mesma, eu pr\u00f3pria <\/b><\/span><\/h1>\n

Zia Soares<\/p>\n

2024<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1591875713434{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_single_image image=”15640″ img_size=”full” alignment=”center”][vc_column_text]<\/p>\n\n

[\/vc_column_text][vc_column_text]She came to us covered with insults by the biased door that is the book A Preta Fernanda: Recorda\u00e7\u00f5es d\u2019uma colonial (1912), which tells us more about the white society of the late 19th century Lisbon than about who was Andresa do Nascimento de Pina, or would it be Andresa de Pina do Nascimento?, aka Fernanda do Vale. Some say it\u2019s an autobiography, but no, it’s not. It isa racist and macho satire about a woman who strayed disproportionately from the mold. Certainly Andresa, or Fernanda, will have tried to disapprove of that monstrous portrait publicly, and certainly she will have been gagged. And, again, once again, Carla Fernandes\u2019 spivakian question, \u201cCan thesubaltern remember?\u201d<\/p>\n

The answer:<\/p>\n

\u2022 Yes, she can.[\/vc_column_text][vc_separator][vc_column_text]Ela chegou-nos coberta de insultos pela porta enviesada que \u00e9 o livro \u201cA Preta Fernanda: Recorda\u00e7\u00f5es d\u2019uma colonial\u201d (1912), que nos diz mais sobre a sociedade branca lisboeta do final do s\u00e9c. XIX do que sobre quem foi Andresa do Nascimento de Pina, ou seria Andresa de Pina do Nascimento?, aka Fernanda do Vale. H\u00e1 quem diga que \u00e9 uma autobiografia, mas n\u00e3o, n\u00e3o \u00e9. \u00c9, sim, uma s\u00e1tira racista e machista sobre uma mulher que escapava desmesuradamente ao formatado. Certamente que Andresa, ou Fernanda, ter\u00e1 tentado desaprovar publicamente aquele retrato monstruoso, e certamente ter\u00e1 sido amorda\u00e7ada. E, outra vez, mais uma vez, a pergunta spivakiana de Carla Fernandes: \u201cPode a subalternizada recordar\u201d?<\/p>\n

A resposta:<\/p>\n

Pode.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content” css=”.vc_custom_1641831807111{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text]<\/p>\n

October 13th 2024 \u2013 4 pm<\/strong><\/h3>\n

[\/vc_column_text][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_column_text]Zia Soares<\/strong> is a theatre director and actress. In her work, which is developed between Africa and Europe, she obsessively experiments with the construction of new dramaturgies rooted in the poetics of divergent oralities and (in)corporalities, where the verb is a manifestation of images \u2013 images that incarnate, that neither imitate nor reproduce, instead they act.<\/p>\n

Of her most recent stagings, stand out The Laughter of the Scavengers, authored by her, and co-produced by Teatro GRIOT and Culturgest, which was distinguished as \u00b4Best Show 2021\/22\u00b4 within the scope of the Premio Internazionale Teresa Pamodoro (Milan, Italy); FANUN RUIN, authored by her, co-produced by Calouste Gulbenkian Foundation and Sowing_arts; and Pearl without a Girl, directed by Zia Soares, text by Djaimilia Pereira de Almeida, co-produced by Sowing_arts, Teatro Nacional D. Maria II and apap \u2013 FEMINIST FUTURES.[\/vc_column_text][vc_separator][vc_column_text]Zia Soares<\/strong> \u00e9 encenadora e actriz. No seu trabalho, que se desenvolve entre a \u00c1frica e a Europa, experimenta obsessivamente a constru\u00e7\u00e3o de dramaturgias novas enraizadas em po\u00e9ticas de oralidades e (in)corporalidades divergentes, onde o verbo \u00e9 manifesta\u00e7\u00e3o de imagens \u2014 imagens que encarnam, que n\u00e3o imitam nem reproduzem, mas que actuam.<\/p>\n

Das suas mais recentes encena\u00e7\u00f5es destacam-se O riso dos necr\u00f3fagos, de sua autoria, co-produ\u00e7\u00e3o Teatro GRIOT, Culturgest, distinguido como \u00b4Melhor Espect\u00e1culo 2021\/2022\u00b4 no \u00e2mbito do Premio Internazionale Teresa Pamodoro (Mil\u00e3o, It\u00e1lia); FANUN RUIN, de sua autoria, co-produ\u00e7\u00e3o Funda\u00e7\u00e3o Calouste Gulbenkian, Sowing_arts; P\u00e9rola sem rapariga, encena\u00e7\u00e3o e dire\u00e7\u00e3o de Zia Soares, texto de Djaimilia Pereira de Almeida, coprodu\u00e7\u00e3o Sowing_arts, Teatro Nacional D. Maria, apap \u2013 FEMINIST FUTURES.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text] Eu mesma, eu pr\u00f3pria Zia Soares 2024 [\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1591875713434{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_single_image image=”15640″ img_size=”full” alignment=”center”][vc_column_text] [\/vc_column_text][vc_column_text]She came to us covered with insults by the … <\/p>\n","protected":false},"author":34,"featured_media":15640,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"pmpro_default_level":0,"footnotes":""},"categories":[6583],"tags":[],"class_list":["post-15627","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sincopes-sound","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/15627","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/comments?post=15627"}],"version-history":[{"count":12,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/15627\/revisions"}],"predecessor-version":[{"id":15697,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/15627\/revisions\/15697"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/media\/15640"}],"wp:attachment":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/media?parent=15627"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/categories?post=15627"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/tags?post=15627"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}