Rita Costa, the artistic director of Teatro Ibérico and the mind behind the text, creation, and direction of the play “Bairro Profano,” described the production as an exploration of the neighborhood dynamics, often characterized by tourists and “unicorn factories” but predominantly inhabited by residents of municipal or working-class neighborhoods with vastly different socioeconomic views and needs.
She highlighted basic needs such as unmaintained elevators in municipal neighborhoods or homes requiring painting but emphasized that residents do not feel ostracized.
The neighborhood is portrayed as a “postcard” with “unicorn factories and modern investments” on the front, while the unseen side reveals “distinct” and often “completely opposite” realities.
On this invisible side are people with a strong sense of belonging, altruistic despite having little, with a desire to help others.
She cited Curraleira, Picheleira, and Quinta dos Ourives as examples of municipal neighborhoods, noting that they are only 500 meters from Teatro Ibérico’s headquarters, located in the former church of the Convent of Xabregas.
“Who are these people living in the neighborhood, what do we hear and can say about them” is a central theme of the play, where two actresses perform in the “bare space of the Teatro Ibérico stage, also accommodating the audience on stage” with minimal set designs, focusing primarily on “housing,” according to Rita Costa.
“The goal is for the audience to learn about the realities of the parish, what can be changed without any moral narrative, which I detest,” she emphasized.
As such, “Bairro Profano” should not be expected to compare issues, though it showcases the parish and neighborhood’s “antagonistic sides,” Costa remarked.
The residents of municipal neighborhoods seek “infrastructures that enable decent living conditions, and they don’t mind the presence of unicorn factories, significant gentrification, and collaborations between institutions that segregate many people on the less fortunate side,” she stressed.
She mentioned that some people believe the investments on the other side of the neighborhood “are important and good, yet they feel forgotten.”
Rita Costa noted that the play is designed to allow the audience to intervene, express their views, and raise questions.
The play also features creation, performance, and musical interpretation by Mariana Correia, co-creation, performance, and text by Catarina Caetano, with musical creation and environment by Ricardo Martins.
The costumes are by Sofia Duarte, with technical coordination by Roger Madureira, who is also responsible for design, lighting operation, and video mapping; sound operation is by Júlio Mazzeu.
The scenic space is designed by Otto and Roger Madureira, with set construction by the Salvation Army.
The play, “reconsidering life in Beato,” runs until September 28, with performances Thursday through Saturday at 9:00 PM and Sunday at 5:00 PM.
