In an indefinite time that resembles our own, a woman deals with two simultaneous endings. Through the window, she watches the world outside falling apart. It does not decay as we already know is possible, but with biblical drama and – much to her astonishment – as a direct consequence of the decay that she sees happening to her own body as a result of a degenerative disease. She sees her own destruction prolong itself into the destruction of the world. OFF progressively becomes a labyrinth between what happens to this woman, the story told in the book that a writer proposes to publish (which turns out to have her as the protagonist) and the subtitles provided to the people in the audience watching all this (who seem to belong to that book). A revealing sacrifice takes place. There is a dilution of the “limits between things” that allow us to believe that there are differentiated entities in the world. A layer from the surface of the world is removed to reveal a unique machinery – a machinery that, as biology explains, can sacrifice a part in favor of the survival of the whole.
In an indefinite time that resembles our own, a woman deals with two simultaneous endings. Through the window, she watches the world outside falling apart. It does not decay as we already know is possible, but with biblical drama and – much to her astonishment – as a direct consequence of the decay that she sees happening to her own body as a result of a degenerative disease. She sees her own destruction prolong itself into the destruction of the world. OFF progressively becomes a labyrinth between what happens to this woman, the story told in the book that a writer proposes to publish (which turns out to have her as the protagonist) and the subtitles provided to the people in the audience watching all this (who seem to belong to that book). A revealing sacrifice takes place. There is a dilution of the “limits between things” that allow us to believe that there are differentiated entities in the world. A layer from the surface of the world is removed to reveal a unique machinery – a machinery that, as biology explains, can sacrifice a part in favor of the survival of the whole.
directed by Jorge Andrade with the assistance of Maria Jorge ‧ text by text Jorge Andrade and Chris Thorpe, based on 'Dying' by Chris Thorpe ‧ translation Manuel Poças ‧ featuring Andreia Bento/Tânia Alves, Maria Jorge and David Pereira Bastos/Jorge Andrade ‧ stage design by José Capela, image editing by António MV ‧ costume design by José Capela, costume crafting by Maria dos Prazeres ‧ lighting design by João Fonte and Jorge Andrade ‧ soundtrack by Sérgio Delgado ‧ image and promotional video by António MV ‧ stage photography by José Caldeira (Porto) and Filipe Ferreira (Lisbon) ‧ production direction Pedro Jordão ‧ executive production Andreia Bento ‧ production assistant Sofia Freitas ‧ co-production Teatro Nacional D. Maria II and Teatro Nacional São João ‧ co-production residency O Espaço do Tempo ‧ with the support of Câmara Municipal do Porto / Criatório ‧
June 10 ‧ Vila Flor Cultural Center (Guimarães)
June 19 ‧ Portimão Municipal Theater
October 8 and 9 ‧ Viriato Theater (Viseu)
December 2 to 19 ‧ D. Maria II National Theater (Lisbon)