Guintche
Marlene Monteiro Freitas, one of the most distinctive figures in international performing arts, presents Guintche, a dynamic solo that explores the boundaries of identity and self-expression. This performance is inspired by the Cape Verdean word “guintche,” which can denote both a bird and a prostitute and may also refer to a disjointed approach to life. Freitas embodies a range of characters, including a boxer, a clown, and an acrobat, bringing them to life in vivid snapshots.
Guintche
In Guintche, Freitas celebrates the diversity of human experiences with her clumsy movements and grotesque facial expressions that electrify the stage. She takes the audience on an emotional rollercoaster, where intense physical exertion and theatrical elements come together in a whirlwind of emotions, ranging from humour to melancholy.
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The body becomes a battleground where different creatures clash, each with a unique story. Freitas challenges the spectator to contemplate identity, diversity, and the complex relationships between people. The dynamics between the characters reveal the ambiguity of human nature and offer a unique perspective on the struggle for acceptance and understanding. This performance is not only visual but also a call to reflect on the different facets of our existence.
Marlene Monteiro Freitas
Marlene Monteiro Freitas (1979) is the figurehead of the new Portuguese dance scene. She is known for her abundant and expressionistic pieces, inspired by the carnival of her Cape Verdean youth, which combine grotesque figures with a powerful visual language that flirts with the extravagant worlds of fashion and pop culture. Freitas' work, situated at the intersection of dance and theater, is both visually captivating and thematically profound, addressing social issues and offering timely political commentary. Her performances are characterized by a unique blend of slapstick and serious undertones, with music playing a prominent role.
Born in Cape Verde, she was a co-founder of the dance group Compass and studied at P.A.R.T.S. in Brussels, the Escola Superior de Dança, and the Calouste Gulbenkian Foundation in Lisbon. As a co-founder of P.OR.K., a production organization based in Lisbon, she has revitalized theatricality in dance. In recent years, she has transitioned to larger venues, where she often appears on stage as part of her performances, which always begin with an image that she envisions in her mind.
Freitas collaborates with a diverse group of creators from around the world, giving her work a dynamic and innovative quality that challenges and inspires audiences.
photo ©Bea Borgers
BRANDHAARDEN
Brandhaarden is an international theatre festival that brings performances from notable foreign theatre makers to Amsterdam. The festival provides a unique overview of a single creator, house, writer, region, or theme. In previous editions, we highlighted directors such as Katie Mitchell, Milo Rau, and the collective Rimini Protokoll, writer Édouard Louis, the Southern European region (Portugal, Spain, Italy, and Greece), and city theatres such as Münchner Kammerspiele, Volksbühne Berlin, and Peter Brooks Théâtre des Bouffes du Nord.
Credits
choreography and interpretation Marlene Monteiro Freitas
music Henri “Cookie” Lesguillier and Simon Lacouture (drums), Johannes Krieger (trumpet) from Rotcha Scribida by Amândio Cabral, Otomo Yoshihide (guitar solo excerpt), Anatol Waschke (sharpnel)
sound Tiago Cerqueira
light Yannick Fouassier
scenography and costumes Marlene Monteiro Freitas
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production P.OR.K, Soraia Gonçalves, Joana Costa Santos (Lissabon)
distribution Key Performance (Stockholm)
co-production ZDB-Negócio, Lisboa (Lissabon)
artistic residencies O Espaço do Tempo (Montemor-o-Novo), Alkantara Festival (Lissabon)
support Re.Al (Lissabon), Forum Dança (Lissabon), Bomba Suicida (Lissabon)
acknowledgements Avelino Chantre, Pedro Lacerda, João Francisco Figueira, Anatol Waschke
