ACTA conquers Europe

Everything takes place on a circular island that occupies almost the whole stage. It turns on itself, powered by the strength of a mythical beast (the slave Caliban, played by Mário Spencer). At a certain point, the creature surprises everyone in a perfect German that deserved the resounding applause of opening night.

And on the island, with no name or nationality, lives the hero Prospero (Luís Vicente, totally immersed in the part) with his young daughter Miranda (an almost ethereal Tânia Silva).

The former Duke of Milan is helped by Ariel (Carlos Pereira) an acrobatic being who flies over the stage to do his bidding. Between them, they manage to sink a ship in which Prospero’s old enemies are sailing (played by actors of the Trier Theatre) - to settle the score in the three languages. Complicated?

“It was the first time that we used and combined different languages. I was a bit nervous at the outset, but I think we created and developed a form of theatrical communication that surpassed the barriers of language”, stage manager and artistic director Gerhard Weber told us.

Some of the time, the actors almost appeared to be performing pantomime. “Yes, that was intentional!” Admitted the German director. “I’m all in favour of physical expression and think, in this regard, our Portuguese colleagues were much more free and creative than the German actors! But, that was the challenge I set them,” he stressed. “I wanted there to be a balance between the dramatic elements, to stress the comic side of the play”.

Given the lessons learnt in this first experience, Weber considers “Shakespeare the ideal continent” to continue working with ACTA in the future. “Maybe, our next project could be «A Midsummer Night’s Dream”, as it’s not so dependent on words…”

But, at the outset, it wasn’t the famous English playwright that prompted this production. “The idea began with the plan to bring Fernando Pessoa here” (a passion also shared with the Trier Theatre’s chief dramatist Peter Oppermann.

Who tells us this is Maria de Jesus Duran Kremer - who accompanied the whole process from the beginning (three years ago). Based in Trier since 1966, this Portuguese national is well known within the community. She’s a member of the local council, a parish council president and leader of a Portuguese Cultural Association in Trier.

For many years, Maria Kremer has studied the archeology of the Algarve. She’s one of the people that most knows Milreu, for example. Familiar with ACTA’s work (as part of the audience), it was she who suggested the company, and acted as go-between during negotiations. Why?

“I think that in Portugal we have a very rich culture that really has to get out and show itself to the world. I’m not being fanciful and nationalistic, I am very proud of what we have – and I’m sad that it’s not seen for what it is, nor is it given the support it deserves. I think that is what spurred me on to make this whole project possible”, she told us.

Portuguese vice-consul Abílio Dias Ferreira, 60, has lived 40 years in Germany – 35 of which he’s worked at the consulate in Frankfurt . He told us “this is the first time that I’ve seen a Portuguese theatrical company here”. What’s more usual is to see “musicians”, two or three arriving per year.

«Der Sturm – The Tempest» was backed by the European “Cultura 2007-2013” programme, which supports intercultural dialogue. “If it wasn’t for this kind of community backing, we wouldn’t have succeeded”, admitted Maria Kremer.

“Trier is a very conservative city, in all aspects – even cultural. It’s very difficult to bring experimental theatre here – or anything that leaves classic theatrical moulds”. Nonetheless, “the victory wasn’t just that we managed to realise this project, but that we won over a public that, if they don’t like something, have no compunction in booing”.

Maria Kremer also got involved on the translating side. “I compared the German and Portuguese versions of the text, and realised they didn’t work”. She actually “cleaned up” the Portuguese version, so that it became more contemporary (less flowery) and adapted to the characteristics of the play.

Critic Dieter Lintz (a man whose opinion “can destroy plays”, according to Maria Kremer), from the «Volksfreund» newspaper, wrote, “this is certainly a production that the participating companies, the Trier Theatre, Faro and Luxembourg, can take to a European level”. Other strong points are the stage sets by Jean-Guy Lecat – previously a collaborator of the famous Peter Brook – and the original music by Sebastian Matz.

Luís Vicente, ACTA’s artistic director, hopes to be able to take the name of the Algarve, and Portugal, to other climes. “We’ve already got things organised with Poland and Italy. We’re in negotiations. Nothing’s settled yet. Now, what we’ve got to see is if the expected cuts in our budget allow for the continuation of this “internationalising” of our company – which, in my view, makes perfect sense. We’ve got the possibility to continue our close relationship with the Algarve, as well as take the company beyond the country. I think this is a legitimate aspiration – a strategy of affirmation and development”.

“The play envisaged with Poland will make its début in the Algarve, where it’ll have eight performances in October. It’s a new experience. One we’ve not had before: a play without words. There’s just a narrator. It’s about Inês de Castro – not in historical terms, but as a reflection on love, and death”...