BUGIGANGA was born from the intersection between the languages of physical theater, street arts and the new circus.  

The show develops around a main scenic object, a walking scenography, where the two central characters carry trinkets and objects that they collect along the way, with which they create bridges between the places and people they visit. 

A SCENOGRAPHY OF trinkets

One of the central creative elements of BUGIGANGA is undoubtedly its scenography. A scenario on wheels that offers multiple possibilities for play, namely the creation of comical “accidents” (a wall that falls, a door that dismantles…), on the one hand enhancing the comic dimension of the work, on the other hand adding symbolism to the expressive elements in the dramaturgy that tell us about the fragility of the human condition.

This scenario was built on top of a structure whose model is the one commonly used by street vendors and street vendors, creating an important element of connection with popular culture. Several scenographic elements were attached to this central object, which provided maximum dramatic possibilities. They were created during the creation process with scenographer Hugo Ribeiro (company Boca de Cão)  and studied carefully so that these elements allow the piece to serve in the best way.

BUGIGANGA in its initial phase of creation included carrying out some initiatives with communities, living in social neighborhoods in Torres Vedras, in order to develop an approach to involve them in the dramaturgical creation of the show.

This approach is led by Portuguese gypsy artist Maria Gil Maia and was based on conversations and small workshops, where the aim is to collect materials around the concept of “invisible women” imminent in BUGIGANGA, here associated with women from nomadic communities. These actions are being developed in partnership with the Somos Comunidade project and Torres Vedras City Council.

The project includes several creative residencies to develop the show. The first residency focused on the art of buffoonery, guided by Canadian Doloreze Leonard, where the performers developed the basic creation of the characters in the work.
In a second phase, dramaturgical writing work was carried out in collaboration with director Ricardo Puccetti of Lume Teatro based on improvisations and game proposals launched by the director.
In its third phase, the process takes place under the guidance of Gonzalo Villarreal Porzio within the scope of physical theater and mask techniques. Subsequently, the work includes the participation of Elise Ouvrier Buffet in order to improve the writing work of the interpreters’ movement.
The last stage of the work will be the direct presentation to the public, in which the writing of it truly comes to an end.

Show m/3

Duration 50 minutes

Outdoor space