Culture has become so bureaucratized that no art can survive it. Flaccid, of all colors, pedantic, shining in its splendid nakedness. A dry jungle, pruned like a French garden.
But we advocate that everything will return to a beginning. The future, my friends, is neanderthal! We’ll squeeze cistus flowers to paint bison on the ruins of skyscrapers, we’ll eat dogs and watermelons with our dirty fingernails, we’ll know how to dip our hands in blood without sadism and we’ll die early, lean and magnificent, without any political, philosophical or artistic apparatus to explain it. We’ll just be culture.

On November 11, after the show, there will be a session of CLUBE ESPECTADOR, moderated by José Maria Vieira Mendes. CLUBE ESPECTADOR is a project coordinated by J.M. Vieira Mendes and Maria Sequeira Mendes, with the collaboration of Rua das Gaivotas 6 (RG6) and Teatro do Bairro Alto (TBA), and consists of promoting informal conversations about shows.

Truta no Buraco is a company formed by a group of people who, over the last few years, have been consolidating a style and an artistic team, with the aim of thinking socially about life and culture, awakened to the clairvoyance that our condition demands it. Solitude does not privilege us.

It is precisely on the reflection of the whole that our work aims to focus, building a historical perspective from its shadow. Andreia Farinha, trained in theater in partnership with João Melo, who comes from the film industry, in continuous collaboration with José Smith Vargas, Manuel Bivar, and more recently with Raphael Soares, Anafaia Supico, João Ayton, Ricardo Donas and Francisca Bagulho, make up this gang.

We harbor the conviction that this group is genuinely committed to producing critical thinking about the world through a culture that is more accessible and less politically appealing and cheesy. And so, quixotically, we have been improving ourselves in the intricacies of the arts to which, for all our sins, we have decided to dedicate ourselves. In this time of Ubus, we’d like to take the opportunity, while the blood is still flammable, to waste it on the theater. That’s all.