Don’t delay where you can’t love

Don’t delay where you can’t love

Where you can not love do not delay, is the latency of the body of the interpreter made word of the poet. In the continuity of the work based on the creation of performative objects developed from non-dramatic texts, Daniel Gorjão | Teatro do Vão, this time explores letters written by Frida Kahlo throughout her life. Having in the last project staged a classic text of world dramaturgy, he now returns to an intimate object, thus working from an aesthetic imaginary recognized by all and creating a dramaturgy-choreography for an actor who will expose himself in the intimacy and the visible multiplication of the several ideas of Frida. It is from the imaginary of a timeless figure that these letters are composed, on the premise of a body that survives its physical condition and that perpetuates itself beyond a geography and a time.


direcção artística DANIEL GORJÃO | dramaturgia MARIA JORGE | interpretação JOÃO VILLAS-BOAS| apoio ao movimento MARIA CARVALHO | desenho de luz e direção técnica SARA GARRINHAS |música original e sonoplastia MIGUEL LUCAS MENDES |teaser e imagem promocional MIGUEL LEITÃO|figurinos  JFD  ideias and details | execução figurinos ATELIER TERESA CAPITÃO | produção executiva MÓNICA TALINA | produção Teatro do Vão

acolhimento e apoio Teatro da Garagem

apoio | JFD Ideas and Details, Atelier Teresa Capitão, Pinguim Púrpura – Associação Cultural e Polo Cultural Gaivotas | Boavista

apoio à divulgação | RTP2 | Antena2

agradecimentos | VIDEOLOTION, João Almeida e Maria João Vicente



6 a 9 de Dezembro de 2018 – Teatro Taborda| Teatro da Garagem


7 a 10 de Fevereiro de 2019 – Teatro Taborda| Teatro da Garagem

Perfeito Círculo Presente

Perfeito Círculo Presente

Perfect gift circle talks about desire. It’s not about the desire of flesh but, before that, the desire of communication, the need to create bridges, to see yourself as a whole that naturally creates when in front of another one – another whole. From the Padre Antonio Vieira’s masterpiece “O Sermão de Nossa Senhora do Ó”, the piece explores the feminine, what’s intrinsically human and generative, in contradiction with the masculine, as a brutal force.

With Miguel Lucas Mendes sound that dresses up the classic words with a particular sense of contemporaneity – in a symbiosis with the actress voice that gives her flesh and soul to each one of the words and the actor’s body that fills each silence, we present this multidisciplinary object, based on the berlin aesthetic.

Originally created for the Portuguese national Television ( RTP2 ), it will be airing in September 2016 as part of a theatre cycle. Daniel Gorjão was one of the creators chosen by the TV channel to recreate and make an adaptation for theatre of this Portuguese Classic Sermon – and he brought it to nowadays.


Creation and artistic direction Daniel Gorjão | Dramaturgy Daniel Gorjão e Maria Jorge, from “O Sermão de Nossa Senhora do Ó”- Padre António Vieira | Cast Maria Jorge e João Villas-Boas | Sound Miguel Lucas Mendes | Vocal coach Luis Moreira | Movement coach Maria Carvalho | Production and Technical Direction Sara Garrinhas | Comunication ShowBuzz | Photography Paulo Pimenta

Running Time | 30 minutes


Desta Carne Lassa do Mundo

Desta Carne Lassa do Mundo


Using Shakespeare’s Romeo and Juliet original words, this play is set in the actuality to explore the romantic teenager myth in an urban reality and to question the idea – or the experience – of unconditional love.

Having fun in a disco, Romeo’s entourage and Juliet’s entourage meet while dancing and drinking, in a real ‘warm up’ with the audience and with each other, playing and being played, kissing and missing, living quickly and loosing so fast as life flows at the rhythm of a big city. With this dramaturgy, more than talking about love, we’ll explore the problematic of desire, the sense of erosion of love in the modern society. Death becomes insignificant when confronted with the experience of happiness brought by love, the real fuel for life – even if fleeting.

Conception, artistic direction and costumes Daniel Gorjão | Assistant director Maria Jorge  | Cast Ana Sampaio e Maia, André Patricio, Carla Galvão, João Duarte Costa, João Villas-Boas, Miguel da Cunha, Miguel Raposo, Teresa Tavares, Vitor d’Andrade | Movement coach Maria Carvalho | Voice coach Luis Moreira | Stage design Bruno Terra da Motta | Video Luis Puto | Production, tecnical direction and lighting design Sara Garrinhas | Executive production João Figueiredo Dias | Comunication ShowBuzz | Photography Rui Palma
>Okin – Original music by Miguel Lucas Mendes
Running time : 80 minutes

Premiere | 16 – 22 November 2016

National Museum of Natural History and Science, Lisbon
Espectáculo financiado pela Direcção Geral das Artes.

Radiografia de um Nevoeiro Imperturbável

Radiografia de um Nevoeiro Imperturbável

It’s a game where we’re constantly playing power. It’s the conflict between the destiny of a country and the love of a man that happens to govern it. It’s a story out of time and space that will always be in repeat because a king will always be a man with a heart beating inside of him. Maybe because of that the man inside of the king will admit, at a certain point, with his head down: ‘ The nature of each one of us isn’t something we can change easily’.
It’s the eternal youth of the ones who are sure they need to keep on changing even if they’re not sure about which direction to take.

It’s about assuming the risk of wanting something bigger.

It’s about the eternal compromise you have with the place where you were born.

It’s about nowadays where the fog can’t stop us, it has to make us go further.
It’s about the body that, even being guided by the heart – or maybe because of that – is unable to go. The body that stays restless, trying to reinvent itself.
To be a king is, after all, to have a thousand faces and constantly failing in each one of them. It is to invent a future without being able to get rid of the fear you feel inside.
‘Radiografia de um nevoeiro imperturbável’ is a contained scream of these restless people that are still to come.


from Fernado Augusto’s play, Príncipe Bão | Creation and artistic direction Daniel Gorjão | Dramaturgy Cátia Terrinca, Ricardo Boléo | Stage Design Daniel Gorjão com Bruno Terra da Motta | Lighting Design Miguel Cruz | Sound Design Sara Vicente | Cast André Patrício, Cátia Terrinca, João Duarte Costa, João Villas–Boas, Miguel Raposo, Teresa Tavares e Ana Rita Rosa, André Delgado, Fernanda Azougado, Filipe Freitas, Inês Cruz, João Reis | Movement coach Maria Azevedo Carvalho | Voice coach Luís Moreira | Costumes Ricardo Aço | Executive Prodution Teatro do Vão João Figueiredo Dias | Production and Technical Direction  Teatro do Vão Sara Garrinhas | Production Direction Teatro do Vão Cristina Correia

co-production TNDM II, Teatro do Vão

Running Time | 60 min

Premiére | 13 November thru 7 de December 2014 – D. Maria II National Theatre, Lisbon

Presentation | 20 and 21 March – Teatro Municipal Joaquim Benite – Almada

Espectáculo financiado pela Direcção Geral das Artes.

O olhar Inabitado das Manhãs

O olhar Inabitado das Manhãs

O Olhar Inabitado das Manhãs are leftovers of poems. It’s about Sophia de Mello Breyner’s poetry without revealing her name ever. It’s the revelation of her poetry without using the metaphor, as if you were secretly opening a black box that keeps only the intimacy of the words in the moment they meet the spontaneity of the body.

It makes us go to that melancholic place where you acknowledge you’re no more than a spectrum passing by. You’re nothing compared to this huge amazing earth made of stone and fire and wind and sky. No word will ever transmit the strenght of a thunder. The word sky is nothing compared to the sky itself. Nothing. When I write ‘light’ there’s no real enlightenment.

So, Sara Carinhas, the actress, with a name made itself of rocks and diamonds, who cares? She’s the woman exposing herself in her fragility- like a scared cat. The woman in ‘The uninhabited look of mornings’ has poems living deep inside of her mouth.

‘To be able to decipher the universe that’s hidden in a singular look. A look that I’ve seen in pictures and in documentaries. These two eyes that I imagine when I’m reading her touching words. The look of the one who’s “afraid to love in a place so fragile as this world is”.
The power of nature, bigger than anyone of us. The waiting. A God. A poetry that burns. The will for a peaceful moment of contemplation. The body that inhabits the space. The body that can stay forever. Because you’re there now, alive. Forever. You can stay but you don’t let yourself be touched, you can’t save your body”.

[Daniel Gorjão]

Ficha Artistica e Técnica

Direcção Artística Daniel Gorjão | Texto Cátia Terrinca a partir do universo de Sophia de Mello Breyner Andersen | Interpretação Sara Carinhas | Produção e Desenho de Luz Sara Garrinhas | Produção Executiva e Apoio Técnico João Figueiredo Dias | Direcção de Produção Cristina Correia | Design Cartaz Ricardo Aço | Execução de Figurino Teresa Capitão | Comunicação Rita Tomás

Duração | 50 minutos

Estreia | 17 a 19 de Julho de 2014 | Jardim Botânico do Museu Nacional de História Natural e Ciência, Lisboa

Beco da Saudade

Beco da Saudade

Uma peça que começa pelo corpo, como um pêndulo, e é teatro e dança, é ir e ficar, é sobre a saudade e a recusa. Uma peça que recomeça pela palavra. Pelo discurso que construímos sobre os lugares onde estamos. Uma peça que é do Daniel e para Lisboa.

Beco da Saudade é fruto da necessidade de pensar sobre o que é “ir para fora”, uma espécie de simulacro da vida distante do quotidiano. Não é forçosamente, trocar de cidade ou de país, é trocar de vida – isto sobre que nos fala o Estado. Se a educação social nos incita, tantas vezes, a escolhas inorgânicas, então a rua onde vivemos é o Beco da Saudade – dessa estranheza nostálgica do que não chegámos a ter na plenitude.

Sob a perspetiva do Daniel, Beco da Saudade é reflexo da necessidade de começar um novo ciclo através de uma pesquisa individual e, por isso, este objeto/intervenção vai lançar as perguntas que, a pouco e pouco, serão experimentadas, depois, nos contextos que ele assume estarem formalmente mais próximos do conceito de teatro.

Ficha Artística e Técnica
Direcção Artística e Interpretação Daniel Gorjão | Dramaturgia Cátia Terrinca | Apoio ao movimento Maria Azevedo Carvalho | Produção e Desenho de Luz  Sara Garrinhas | Som e Video Sara Vicente | Produção Executiva e Comunicação João Figueiredo Dias | Direcção de Produção Cristina Correia | Co-produção  Teatro do Vão e Teatro da Terra

Residência Artística Teatro da Terra (Ponte de Sôr) e Bacantoh- Associació Cultural (Barcelona)

Duração | 45 minutos

Estreia | 27 e 28 de Março de 2014 | Teatro do Bairro, Lisboa
Reposição | 30 de Maio de 2014 | Teatro da Terra, Ponte de Sôr



The memory of what happened survives the body, in a different place. From Catia’s and Rui’s memories of “Que o dia te seja limpo”, we create this piece, now without the director’s hand. A chance for the actor’s to recreate their memory – by themselves. A chance to meet the audience and think about the performer’s memory : the real one and the fictional one. A chance to talk about it.


Concept Daniel Gorjão | Cast Cátia Terrinca and Rui Palma | Video Sara Vicente | Lighting design Sara Garrinhas | Co-production Teatro do Vão, SillySeason

Premiere |October 4th, 2013 | Clube Ferroviário de Lisboa – Palco Jurássico

Que o dia te seja limpo

Que o dia te seja limpo

‘May your day be clear’ is a promise. But a promise that starts as a reflection about the human’s rot. Al Berto’s words meet the limitless bodies of the performers. More than anything we’re searching for a new conception of beauty on stage. From the guts.

It’s about exploring a new grammar and new aesthetics on stage. The set more than a visual element is a catalyst for the performers’ senses, sensations, feelings and relationships. It’s about exploring the danger itself on stage.

It’s about thinking theatre deeply. And risking beyond the preconceptions and usual performatic structures. For this reason, we mix professional performers with real people bringing their different backgrounds, experiences and references to share with us on stage. The aim is to open up our own minds and create an object that’s plural and questions itself and its performers all the time.

There’s fire on stage: in their bodies, in their words, in all the empty spaces. We’re all flesh there. Anonymous and alone. No metaphors or euphemisms, we’re talking about the human nature here. Simply. Asking openly: who are we in the end? From the darkest bit of our soul.


Creation and artistic direction Daniel Gorjão | Movement coach Maria Azevedo Carvalho | Dramaturgy Cátia Terrinca | Cast Cátia Terrinca, Rui Palma and André Delgado, Carolina Arantes, Filipe Dias, Gabriel Lapas, Mariana Almeida, Tiago Faria (teenagers from Minde/Alcanena) | Lighting disegn Miguel Cruz | sound and video Sara Vicente | Costumes Matilde Azevedo Neves | production João Figueiredo Dias and Sara Garrinhas | Technical Direction Sara Garrinhas | Comunication Tiago Mansilha

[Co-prodution Teatro do Vão and Festival Materiais Diversos]

Running Time | 60 minutos

Premiere |September 19th, 2013 | Cine-Teatro S. Pedro, Alcanena
Presentation | May 8th thru 11th, 2014 | Teatro Taborda-Teatro da Garagem, Lisboa

Sempre noiva

Sempre noiva

Forever Bride is a reflection about the collapse of the body. Forever Bride is about the not materialized love of a woman. It’s about a body that one day was agile but today is unable to materialize the movement. It’s about words more than phrases. It’s about fragments.

Can we live indifferent to the social pressure to achieve goals and ambitions? What if we’re just not able to achieve love, to build up a family, to raise our kids, to write books, to succeed, to create art that matters? What if we’re just unable to succeed in life? What if our own body is unable to materialize the movement?

We start from the body: to take the body to its limit to create a unique performance every single day. Truly experimental. Crossing the lines between theatre, dance and visual arts we find a territory where they all meet.

Forever Bride is an object that invites us to question ourselves as creators in the intimacy of the dark room where each one of us sees what we want to see.

More than a political manifest, Forever Bride is an intimate interrogatory, a love confession.

As a theatre play is our way to question and explore the fragility of the citizen against his homeland.


Conception and artistic direction Daniel Gorjão | Script Cátia Terrinca | Dramaturgy assistant Teresa Tavares | Cast  André Patrício, Maria Carvalho, Fernando Tavares/João Estevens | Executive Production João Figueiredo Dias, Sara Garrinhas | Costumes Matilde Azevedo Neves | Lighting designer Miguel Cruz | Poster photo Duarte Amaral Netto 

Co-Production | Teatro do Vão, Rosa74 Teatro, Companhia de Teatro de Almada, Teatro da Garagem

Sponsors | Fundação Calouste Gulbenkian, Casa do Artista, Forum Dança, Golden Pony Studios

Running Time | 135 min (3×45 min)

Open Rehersal | May 4th, 2012 | Teatro Municipal de Almada
Premiére | October 4th to 7th, 2012 | Teatro Taborda-Teatro da Garagem, Lisboa


| April 27th, 2014 | Festival Tudanzas, Barcelona
| May 16th, 2014 | Openday Lx Factory, Lisboa

não te concedi a ti, natureza, a decisão deste dia

Não te concedi a ti, natureza, a decisão deste dia

We, pretentious.

We, weak.

We, humans.

We reject the ephemeral. We build up the indestructible. We are from that band that uses suicide as a way of fighting. We desire beyond the body. We’ll last after death.

If you don’t want your oeuvres to remain eternal, please don’t build them. To create is to transform thoughts into matter. And to create matter is to challenge the nature.

I don’t allow you, nature, to decide for me my final day is our way to claim for eternity. For the last time.

I can hear the echo of my own thoughts. Listen, I’m alone.

All the music on earth surrounds me. Don’t try to reach my hand. Just look…and see. How days defeat me and my dreams and the air I breath.

Look and see how loneliness wraps me up today.

I’m the last one.

I don’t allow you, nature, to decide for me my final day is about exploring the freedom that emerges from the verb to die. To die, just like to live in the most fragile way, day after day. It’s about a body that remains naked and it’s always present, even after death. It’s about taking decisions up to the limit. It’s about transforming them in theatre.


Conception and artistic direction Daniel Gorjão with Cátia Terrinca, Matilde Azevedo Neves, Miguel Cruz, Teresa Tavares, Sara Garrinhas, Joana Peralta e Sara Vicente.

Running Time | 45 min

Premiére | September 12th to October 3rd, 2011 | Teatro Turim

Presentation |July 6th, 2012 | Festival Inundart, Girona – Barcelona