The new performances are scheduled for January 9, 10, 16, 17, 24, 30, and 31, 2026, at 21:30, and on January 11 and 25 at 16:00.
Debuting on November 27 at the Teatro de Bolso, the TAS headquarters with a capacity of 50 seats, the play has consistently sold out, often requiring audience redistribution to meet demand, according to Célia David, the company’s artistic director.
Defined by the director as a “parody to laugh in bad company,” the play incorporates more than 20 of the 151 lessons from “Manual do Bom Fascista” by Rui Zink — the lessons most “adaptable” to theater — along with added dialogues and “two or three asides.”
The “relevance and pertinence of the text” in light of “this growing form of fascism, which seems to have taken root and won’t leave, quite the opposite,” served as pretexts to stage the play based on the eponymous compendium of 151 lessons for “apprentice good fascists,” aiming to “laugh to keep from crying” and simultaneously raise awareness about “the rise of radical ideologies and increasing manifestations of the far-right worldwide,” the director said at the premiere.
Célia David expressed the impossibility for society to ignore “that, indeed, the situation can be dangerous,” especially since “the proportions [of the situation] it may take in the future” are unknown.
“While we have time, we will show that we have a say in this matter, as the future seems relatively daunting if it continues on this path,” argued David, also the author of the dramaturgy, with the consent and knowledge of the author, Rui Zink.
Bringing this play to the stage in the year that TAS celebrates its 50th anniversary, as “a child of freedom and democracy,” adds even more significance, said Célia David.
Before entering the Teatro de Bolso, the audience is given a pen and a form with the “Fascistometer,” a “simple survey” similar to the one in the original work, and is asked to fill it out.
Yellow, black, and gray dominate the costumes of three undefined characters, contrasting with the bright yellow of what is presented as the Good Fascist.
The three elements, multifaceted, operate like a Greek chorus, with irony and sarcasm marking their lines. Sometimes they dialogue, sometimes they make statements together, and sometimes they comment, providing the “cue” for the essential things the good fascist might say.
No one silences this character. “It is never too much to repeat; the good fascist always tells the truth,” the chorus is heard saying in unison, to which the fascist adds: “No matter who it hurts.”
TV presenters, variety show hosts, and singers are the various masks the chorus dons throughout the play, while the Good Fascist remains apparently normal and innocuous, always victimizing himself.
With much music and songs interspersed, the play also addresses the leftist fascist, akin to questions raised about “whether there are good leftist fascists” in eight lessons of the original work.
Immigrants, Blacks, homosexuals, and refugees are always viewed and treated poorly by the Good Fascist, who also targets women.
At one point, some audience members are asked to submit their filled “Fascistometer” forms to the chorus, to be evaluated according to the original work, “even though the responses are not taken very seriously.”
The play can also be used for people to discover if “they have many fascist tendencies”: “Similar to what happened with the actors as they read the work and staged the play, trying day by day to rid themselves of these habits.”
Performing in the play are guest actress Cristina Cavalinhos, Andreia Trindade, Cláudia Aguizo, and André Moniz, who also assists with the direction.
Featuring voiceovers by Célia David, Duarte Victor, and Miguel Assis, the choreography is by Carlos Prado, set design by Flávio Rina, costumes and props by Sara Rodrigues. José Santos is in charge of lighting design, Luís Oliveira handles sound design, and Celso Ferreira oversees technical operations.
“Manual do Bom Fascista” will run until January 31, with the next performances scheduled for December 12 and 13 at 21:30.
