They are a group of friends who make small movies with little means.

The first thing that caught my attention in relation to the short films of the lucky films production company is that they are a group of young and fearless creative's enough to assert in the beginning of their own biography "that "AllstarProductions09'' is a mini-producer videos, of short and feature films, founded in 2009 by a small group of students of the visual arts of the 11th year. Everything, of course, is non-profit and for pure passion for cinema. We have a small team always developing new projects and put them into practice, aiming to get more and better. "A happy accident that made me watched in a "burst" a series of films devised by this team that takes on its full commitment to cinema and this is evident in their film work. Some projects have clear technical deficiencies, but the stories, these, these are well told. I highlight two, one of them is the "sly fox" (whose poster image illustrates this text) that seemed consistent and well thought out, I only pity that the sound failed, as well as a number of less successful plans, motivated by lack of adequate means and equipment, without doubt, is the so-called guerrilla movies. The other short film that really caught me by its beautiful script, the way it was filmed and the duo of actors, is "let me die." This note is a beautiful exercise on cinema. The theme is not new, but the way the death of a love is addressed in this film is a very sensitive and simple beauty without being sappy or pretentious, it pleased me immensely. I also would like to highlight the work of the young actress Jessica Chagas and Mauro Viegas signing both projects as a director and screenwriter. I would also like to praise the consistent work of this great group of amateur filmmakers and actors over time that has been growing in terms of quality, easily deduced by the filmography that learned from some of the prior mistakes made along the way. And they promise more, which I think is excellent, so I leave my congratulations and keep up the good work. But if you do not believe me, see with your own eyes on "you tube". Good movie!

http://allstarproductions09.blogspot.pt/

http://www.youtube.com/user/allstarProductions09

It is a project inspired 100% by Portugal. A brand that focuses on domestic production, through the work of various illustrators embedded in everyday objects. A concept of Raquel Pinto and Manuel Teixeira that beat on the great diversity of themes inspired by the Portuguese culture.

In that context arises blue caramel?
Raquel Pinto: I and Manuel Teixeira who is the person who created this project with me, we had the idea of ​​creating a brand associated with Portuguese culture and incorporates it into graphic objects through day-to-day. The idea was to invite illustrators recognized for the purpose of creating a work that had to do with the topic we were working in the background to bring art to everyday objects. The series are very few, limited to create a very special product that is produced in Portugal with some quality materials.

How do you make the selection of artists?
RP: We do a wide search of illustrators; Manuel is the one who has the final say because this is related to the area. Normally are illustrators are with an already interesting artworks, some older and others younger, what matters is not age, but the quality of their work. However we receive many portfolios, people coming to see the products, find it interesting and want to participate. Some of these illustrators are selected, the youngsters show their great potential in a series in which other artists are collaborating in a more recognized series. We end up leveraging the most unknown due to his good work.

They are all Portuguese?
RP: Yes, they are all Portuguese.

This aspect was important for the brand since the beginning or was it something that just happened?
RP: No, it was a decision from the start. The brand is Portuguese, but does not mean it is done only in Portugal, but since the beginning we tried to always give priority to Portuguese illustrators, because we have so many good ones that did not make sense to look far outside. This does not mean that there is no future for a foreign artist who can also collaborate with us. We tried to always use the national raw material.

How do you make the selection of topics? Chose the fado for your birthday, but there are also cities, the most emblematic places of Portugal.
RP: Blue Caramel was released in 2011, but when we were "ruminating" two years ago, we thought Portugal has a rich history at the level of history, gastronomy, traditions, even before we launched the brand, we had lots of themes to choose from and they all related to our country. Fado is a national icon in 2012 was considered by UNESCO intangible heritage and we felt it was ideal to honor it this way and to mark our anniversary. The regions and cities also we thought it was interesting, because all always have stories to tell and are very rich even in architectural terms. Sometimes people write us asking to illustrate its location, it does not mean that in the future we do not.

Then you get much feedback from people?
RP: Yes, both from the illustrators who enjoy the works incorporated in the products and want to participate, as people in general, who write us to ask why not illustrate my city. Social networks allow this immediate feedback. It is very interesting to use these new technologies, so we get more perfection, we do not have shop, and we have yes, points of sale in some locations.

Many of your products are diaries, notebooks, pictures for the walls, are you considering other objects applied by illustrations?
RP: Not only we had individual for the kitchen, or desk bases that sold out very fast. They were made of a resistant and washable material. Do not disregard the idea of repeating out this series, however, for us is not as important the support, it has to be quality and be produced here. We started by notebooks because it is affordable, people use it all, had a universal price and wanted it to be in a quality paper, because people like to write, illustrate and keep these records. It's all done by hand and leaves a little line of common stationery products. For us the use of the products is unlimited.

Then there is a partnership with Valter Hugo Mother and vista alegre.
RP: Not we, Joao Carvalho, who is one of our illustrators. We partner no exclusives, but when we asked a work for the brand, this work can only use the blue caramel, or the illustrator can use it in their exhibitions. We always have respected the language of the author's rights. It creates freely on the subject, but we have a briefing, we want that diversity of language and we released everything they do. In the case of the terrine vista alegre, we announced it on social networks and we are keen to be present when it is possible, because the brand also wants to preserve this relationship with the illustrator. Often people know the "dolls", but not the person behind this work and this is also important. It's man behind those designs.

Who is the public of blue caramel?
RP: I would say the public who consumes more is between 25 and 45 years. Women are the biggest fans of these products. We've had children, depending on the type of illustration. There have drawings that are identify more with a younger audience, but for now are older. Our idea is that it is accessible to any type of person, that when they look it sees it, feel soon an attraction for that work.

From all you have, some of the series was a bestseller?
RP: Because we have cities and even fado is still very difficult to compare. We note that here in Porto, we're over here, that the first illustrations of the city were the ones that sold more, but we must bear in mind that the first points of sale were in this locality. The brand also demands that tourists have a different offer, that they are not accustomed. People who live or pass through here always want something related to the city. In terms of illustration, each language is a more apprehensible by the public, others are more complex, but we have tried many different languages, for example, for the cities were six authors and if you analyze the works are all different. We do not want a language blue caramel, we want to be diversified. Other objective is to show how good is Portugal, the spectacular scenery, a country with a thousand years of history. It is an almost inexhaustible theme. We also want to sell to other countries, but all this requires a study, because it is difficult, but the idea is to also reach communities.

Blue Caramel why?
RP: That's a good question, we thought of several alternative names and this came from several brainstorming, thinking aloud, and after seeing several brands that were recorded. It turns out that blue is a concrete color, but caramel is no longer blue. People think that there is no something there, other judge it as a cooler color, others say it is sweeter. The blue also refers to the sea. To be honest it was not very rational, we found the name funny, is this blend of visual taste, we felt it was a tasty name.

What's next for your brand?
RP: We want to launch new collections, launch other product ranges, because we believed is fun buy books or cards, or individual, or wallets that we also did, but it's always interesting for people keep seeing novelties. We will continue to work on issues related to Portugal, we have several in mind but have not decided which intend to launch this year. Then we have some projects in parallel, we are working on a partnership with the association wolf, which is a species that is in danger of extinction, is running out of their shelter. We tried to launch this series because it is an Iberian specimen is another aspect where by illustrations we sensitize people. We are also collaborating with the School Soares dos Reis with high school students.

It's a social aspect?
RP: Yes, we do not limit ourselves by making products; we also want to send a message. Sure, it takes a long time to go this route, and still feel it is little, we worked a lot, because we're a tiny team, but the feedback has been tremendous, because people like to see things related to their country.

It's one of the finest traditions of the island of Madeira, in the company of the club of the free foot.

Exactly 67 years ago Maria da Conceição Silva could barely walk on her fragile legs and was already walking in the company of her parents to the ground of the Ribeira to celebrate Saint Anthony, patron of Seixal, on the first Sunday after the end of the year. The terraces at this time of year were covered with flowering kale and farmers took advantage of the day to prepare the soil for planting the potatoes, sweet potatoes and beans for the next harvest. The barns housed the animals, instruments of tillage and grass that fed the livestock that contributed to the meager income of the entire family. Early in the fresh morning, family, friends and neighbors lived and celebrated around the stove preparing Panelo. Everyone contributes with what they brought from home, it was the quintessential meal workers, lying everything into the pot and at the end, under a blanket made of cabbage leaves with a towel of squares on top of it lunch was deposited for all to eat as best as they pleased.

The music was always present, the cheerful sound of voices and instruments echoed through the mountain, also marked by the passage of bouquets of cabbage raised by young women in twirls. The musicians stopped everywhere to cheer the guests and were treated with spirits, wine and liqueurs in horns in time to quench the dry throats of both playing and singing.

It's more a concept of successful television of RTP2.

It's a classic television program of the second channel (which for now is still public!). And thankfully. This is a weekly space dedicated to author movies, by genre or country and I abundantly appreciate seeing or reviewing. This week I was toasted with French films and I must say it was very good. I really like this concept, since forever. The choices fall into films of great quality and it is undoubtedly one of its gains. A further advantage is the timetable, the films are never too late and has the boon of not to been interrupted by various intervals with several endless commercials that irritate me so much! It is a balm for the most seasoned moviegoers and a television content to keep at all costs.

It's a set of tips to live better with your feet.

With the arrival of spring we already anticipated with some anxiety the news in terms of footwear. Shoes are the favorite fetishes of women of all ages, of all deeds and races. Sandals with straps are, without a doubt, one of the preferred options of the Portuguese women in this time of the year. But beware, those who use heels, the more shallow can cause you some discomfort, so I propose clogs, wedges with cork that are very light and is always in fashion. Beware also with the straps it should not be too tight, because it affects the circulation.
Never try shoes in the morning, prefer to try it late in the day, after work, it seems a contradiction, but it is not! Your feet are more swollen and all that help to choose the right footwear, tight shoes must be discard. And do not even dare to listen the crap of the saleswoman that said they extends with the walking, even if it's the last pair on earth, or the planet and your are passionate about them, it is preferable not to buy, that not to use and had to give them away brand new, believe me. You will suffer less in long term.

If you like heels, but want to avoid back problems, one way around this old question of style versus health, is to buy intermediate-heeled shoes, as the people said in the middle is this virtue, eight to ten inches preference and never needle. Although the shoes with thin heels are gorgeous, they are responsible for the largest number of falls, strains and sprains in women. Not to mention that it gets stuck between the grooves of the Portuguese sidewalks and I speak from experience, since I went limping home after literally stopping the traffic, not thanks to my beautiful legs, but because I had to pull my heel stuck in the pathway while being booed by the unpleasant sound of cars horns. And I lost my beautiful shoes. There was no repair possible. Read and learn.

It is the fifth book by Jorge Ribeiro de Castro, which addresses various types of writing, in a more contemporary and satirical way. A work known for his eloquence and deep sentiment coupled with a very rich vocabulary.

This book distinguished itself from your other works in what way?
Jorge Ribeiro de Castro: The difference is that I am using more contemporary language. I engage a little more in the satire, the comedy, and the other books are more serious, darker. The writing was somewhat poetic in other works had a certain eloquence, but they were not behind ramblings. In this book I have stories that have a certain storyline, but whose plot is discovered only at the end. We must catch the fish using bait, so to speak.

"These words that leave me" is a collection of short stories, chronicles and other texts. Why?
JRC: Why not? I had that freedom. I thought the book would be different. My third publication has eight stories, "the procession of virtuous" had somewhat of ghostly, of dreamlike, this book has some of that, but why not show what I think and what others think, but in a more poetic way?

The title is the unifying bond of all texts?
JRC: The title is a way to introduce people to the writer. To say they can read whatever they want in the book, which is why the words depart from me, what is written is not a realistic representation of what is the writer. Are only certain moments. The book was written over a year and a half, and of course, I wrote a few more things before and after.

In the presentation of this book, while writing that you abstract of what surrounds you, however, your writing shows much of the author, there is a deepening of the thought, there is sadness inherent in the texts. Ends up being a little about yourself?
JRC: Yes it is a bit of me, but I abstain from reality, does not mean that I refrain myself. A writer who can lie or tell the truth, always has certain richness. What I said is a way to imply that not everything is what I'm going to write is exactly a demure place. There may be a crowd around me that I abstract myself from it. At the moment I'm just experiencing the plot and story, nothing more. Everything I write has something of me, but if not what? I believe that we all have multiple universes within us. I, however, am more than my writing. I could write a melancholy way, because it's what I feel, although I am well. I'm not being fake, but all have a certain sensitivity since birth and why not be enjoying that feeling?

Your literature is described as being difficult. You think as a young author who suffers by comparison with the so called light literature that is closer to a certain audience and hence, the public say that your books are hard to read?
JRC: I write out of necessity. No, because people need to read. This being a young writer with five books and 39 years old, I find it somewhat strange, because to be an old writer in these wanderings is necessary to have a major editor behind and already sale books. I started writing at the age of 21 and have now gone 19 years of writing, although my first book was published in 2005 which makes me a young writer for the public. For me I am a writer trying to know himself, his language.

You have placed your books for free on the internet, why?
JRC: Yes the third and fourth book, because I wanted to make me known. Already had sent them to various publishers, some have not responded, others said they could not edit them, because they had a full schedule. I like people to tell me what they think of the books, but the fact is that I have many more stories to write. I'm almost finished a novel, is an absurd comedy that takes place in the eighteenth century. I have a book with short stories and poetic prose, which I will review. I write when I can, I have a profession, because I cannot live alone of writing.

When people read your books, then know you personally they have a shock?
JRC: People may think that I can be somewhat reserved, shy even. Just because I speak with a contemporary language in a way, does not mean I am not able to write about something deeper, intellectual or sentimental. I've been told that they did not expect me to be so. That does not matter, because I think there must be a differentiation between the writer, someone who enjoys the art of writing, and the person, normal as others.

http://www.mediafire.com/?v3b6d75usc4r1zb

http://www.mediafire.com/?aqz6cgpiq9b6u5p

The ecomusicalis is a symbiosis between music and nature. A musical concept that aims to create a sensory experience for listeners and musicians. One of the areas chosen was the caves of São Vicente where it was hear the first chords of an unforgettable concert that merged with the sounds of the deep Earth.

How you came up with the concept of ecomusicalis?
Rui Nelson: The concept originates with adventure activities and music. We felt that there should be a link between the two. The way to achieve it would be bringing music to nature. When we hear music in the wild, we have a balance, and for about five months we chose several spaces to perform concerts.

How are the locations chosen for the concerts? What is needed for a site to be suitable for a concert of ecomusicalis?
RN: We assume that mankind has a great need to get back to nature; we talked about sustainability, ecology, but do nothing. This is a weapon we used to get people to nature, be on practicing activities in nature, that can be heard as a concert and we decided to bring people to the natural environment for listening to music.

The grottos of Saint Vincent were a "natural" choice?
RN: Yes, but we've done concerts in the creeks, beside the sea, mountains and then we remember the caves.

Such concerts are going to have what kind of frequency in the future?
RN: Every month we do a concert in a specific zone. There is a contest of ideas and then we selected the best. Must be a time of the contact with nature, of pleasure.

The concerts are designed and thought to a small audience, right?
Filipe Teixeira: It's not that we do not want more public, the idea is that they are shows with few people and those can appreciate this moment. We ended up being able to appreciate the music and everything that was in their surroundings. Sometimes, in the event of large masses we loss a bit the concept, in this case, as there is a greater contact with nature is something to be appreciated, too contemplated. We thought in our first concert had to be very few people, we perform concerts with five people. In the background are private, but we do not want to cut too much, nor have many people to maintain the quality of the experience.

The choice of the music also took into consideration the space.
FT: Exactly. The concept is to do concerts in nature in its purity. We took the song to its natural habitat, because we thought that's how the song was born, so makes sense go back. We hear the birds singing, water flowing and listen to the silence that is also music. Everything we learn in the midst of society, we bring back to nature. This is the musical concept.

Some of the scores played had the word water in the title, but there were others who looked like they had nothing to do with the concept.
FT: I'm glad you noticed this issue, to have that assessment, because the idea is to let the taste of the listener intervene, in fact, that people create their own images. At the time of musical romanticism they had something called the symphonic poem, in which composers through music, tried to create images, which is not to say that people just can't enjoy the same sensory experience. We wanted to do this, although the scores are not ours, Professor Ignatius of tuna of mandolins stressed this issue, i.e., he brought the repertoire that he thought suited to this space. If we see the titles of the compositions seems to have little to do with it, but in terms of sound makes sense. The concert was very well balanced and has had its peaks and managed to keep the quality from beginning to end and thus hold the audience's attention.

The repertoire also had a limited number of compositions, was deliberate?
FT: I'm as music teacher has attended many concerts and many activities and started to realize that the maximum time in which people enjoy a concert is around forty, fifty minutes. It is not a proven theory, is more or less what I think. When it exceeds this limit, people tend to disperse, although they are enjoying. Soon the concept of having a concert reduced benefits both parties, the musicians who have a repertoire with quality and listeners who can maintain interest until the end.

According to Ernesto Silva Coelho his works follow a freestyle collaterally to the spontaneity of his mind, transcendent to outer appearances, manifested in the realm of ideas as a starting point for the implementation of a thought, an awakening of reason, or a process of mental creation, the protagonist of a story.

Let's talk about your work; you use various artistic forms, from painting to drawing to sculpture, in which you feel most comfortable?
Ernesto Silva Coelho: Especially in painting, I like to create new forms, but other strands attract me such as sculpture, drawing and photography, turns out to be an artistic worldwide.

What's your creative process? How do you develop your artistic thinking?
ECS: It's a mental preparation before physical implementation, i.e., there is a process from research and experiences where I collect the necessary information of colors and shapes that helps me doing the mental construction of the work. While executing it I have always this guideline, but there are always variables that alter the work and often pre-conceived image of the piece that may eventually change slightly or radically the work.
In your work there is a certain shock. Are you looking for the reaction of the beholder? The subjects fled to the unusual, I am talking about the theme of bondage, but not only that.

ECS: Undoubtedly, any artist wants to provoke a reaction, or a judgment, so every connoisseur digresses a little. I like to create images that are unusual.
What draws you to these themes?
ECS: Indeed they are little discussed topics. I cannot create traditional and classic paintings, I do not identify with that kind of art. I have a need to do something different, just the unusual.

Northern Portugal has witnessed a great progression of this species that has destroyed the hives of native bees.

The wasp velutiana is now considered a threatening pest by beekeepers in northern Portugal, because in a short space of time has wiped out dozens of hives that produce the honey that is consumed internally. Altogether only in the Minho region it exist 8,000 hives operating by more than 300 beekeepers. One activity that may be at risk given also that the municipality of Viana do Castelo which is considered "center spread" of the species in Portuguese territory, detected 28 nests, even in the city center of the capital of Minho. According to a study by Miguel Maia and Silva José Manuel Grosso, this species "was introduced in Europe, through a transport of vegetables from China and was landed at the port of Bordeaux (France) in 2004." From then there on won one third of French territory and has scatter in the Iberian Peninsula with enough efficiency to the point, which is considered by the Spanish authorities, particularly in the Basque Country, as a very serious problem that put in risk the sustainability of local honey production.

About this wasp little is known about its biology and predatory behavior, even in their natural habitat. In general, "these specimens hunt bees, among other invertebrates, is aiming to provide food protein for its spawn. Most wasps attack bees individually. The exception goes to the giant Vespa (Vespa mandarin) that attacks bees group and easily invades their hives". In other cases where the bees detect their presence, the workers stop going out of the hives and the whole swarm dies of hunger. One of the ways to control this exotic pest since their total elimination is an almost impossible task "is through the construction and use of traps, which are useful for monitoring and locating the nest wasps also for reducing predation. If there are many wasps in the apiary, traps should be placed to reduce predation pressure. The traps can be built with plastic bottles or purchased at specialty shops. There are several "bait" to attract the wasps. You must verify that the bait you put in your own apiaries for vespa velutina is the right one, because you can make the mistake of attracting other predators and open a space for the increased predation of this species. The time to change the bait depends on your "recipe". If its beef should be there every day, whether it is alcohol and sugar can be every week. But should be beekeepers to monitor in their apiaries what better time for replacement", concludes the document.

http://www.oapicultor.com/artigos/A%20Vespa%20Velutina%20em%20Portugal%20Continental%20e%20a%20Apicultura%20Nacional.pdf

Edgard Fernandes started in theater in Madeira School Theater Group in "the moniz" where he won for two consecutive years the award for Best Actor. Worked in the Professional Experimental Theatre Group of Funchal and is currently a member of the Puppet Theatre of Porto.

This year you will celebrate twenty year career, looking back this is the career who dreamed when you started?
Edgard Fernandes: No, but in a good way. Thought I was putting myself in a crazy adventure, I could never make it as a career, fortunately always been active, never had any period without work.

It was important to have left the island at that time?
EF: It was, if I am not mistaken in 1996. The theater at that time was almost none existent. Today there is more because it has some development tanks to the school theater group and the experimental theater of Funchal, but at some point I felt that I was stagnating and needed more training to be able to evolve as a professional, I felt that this was what I wanted to do and had even need to leave.

But it was only a matter of natural progression in professional terms, or also felt that being that in an island you would not have the opportunities, challenges desirable later?
EF: No, it was more for training. Especially because I insist on one day, not too far away to go back to Madeira. It has always been my corner. Despite being on the continent for 17 years I feel very Madeiran and unlike many people who want to leave the island, I want to go back, because I want to be able to develop and help people such as I had no training and can have it without leaving Madeira.

You are an artist, teacher, and do voiceovers for animated film, an actor in the Puppet Theatre of Oporto (PTO), in which these strands feel a greater pleasure as a professional?
EF: They are all linked to interpretation. Basically it's something that I really like, which is to interpret. I can say that of all of these areas the one that gives me more pleasure is the Puppet Theatre of Porto. It is a company where I have been here for 13 years and where my teacher of interpretation, John Paulo Seara Cardoso, instructed me professionally as interpreter and helped me further refine my interpretation. Hence always felt accomplished, although in other parts I'm happy, I feel completely at PTO.

How is to be an actor in a puppet theater?
EF: It's very special, this company has a very interesting journey, because none of the actors have training puppeteer. We are all actors. What sets the PTO is that it is not a puppet theater, i.e., a puppeteer hidden behind a scene, but we are always present. The public can see the puppet and the actor, because as the puppet is made of wood or fiber has no physical expression and we ensure that human part to the marionette. That is what motivates and interests me enough.

In a play there is a text, the essays and you need to embody the character, on one of the spectacles of PTO although there is also a stage and a story to tell, how is whole process as an actor?
EF: It's done exactly the same way as would be done in a show without puppets, is as I said before, the PTO is an exception to the rule, and we developed an innovative work. We started with the actor before the puppet, because it takes some time for the puppet to be built. A show takes 3 and half months to be assembled. The research work on the character is begun with our bodies. Then the person who manufactures the puppet learns through our physical expression and construct it more easily, we worked full time at the company.

And also have a director.
EF: Yes, we had until 2010 as the director João Paulo Seara Cardoso who sadly passed away that same year. At this time, Isabel Barros is the new in charge, but everyone in the company, because we are interpreters, all seven also are creators. There is obviously a person to direct, but we are all part of the act, creating performances.

How do proceed to the choice of texts? It's different because it's puppets?
EF: Is similarly. The PTO performs per year, a show for adults and one for children. By 2010 the original texts were from John Paul Seara Cardoso, were using improvisation as it created pieces for the younger ones. For the more mature audience, we set exceptionally classics, already staged "Macbeth" of Shakespeare, "Medeias charms" of António José da Silva and other plays, but as a rule, the shows come from improvisations in rehearsals and from there we set texts.

What is the formula for success of PTO? There are many groups or theaters without an audience and over the years you always managed to maintain a regular activity.
EF: It has a lot to do with the will of all rowing in the same direction, I know it's a cliché, but we are seven in the company and from production, interpretation, construction of puppets, we all believed in this project, because it is very innovative. This company not only working actors interpretation, as we also do experiments with multimedia, dance and think the success is there. Normally, puppetry is seen as a lesser art, which is only for children, but we do not. The person watching for the first time a play have this pleasant surprise, because shows are for people, whether children or adults, and with the same dignity, whether it is with or without puppets. Even now we set up a show "Mr. Hic" in which puppets were created in 3D, ceased to be manipulated by us and so we tried to cross the many languages ​​of art.

Being an artist, a professional how he sees the world of the arts in Portugal?
EF: If this is too complicated and I confess I'm too afraid, perhaps for the policy that is being applied in our government, in Europe and worldwide. Unfortunately our leaders have not realized that culture is the most important areas for the development of a society here and I see that this is being vandalized as the scandalous affair of the House of Music, a brutal investment, which hosts performances from worldwide and currently had a 30% cuts in its annual budget. At PTO we are on standby until March which is when subsidies are allocated, but we continued to have a day job, because fortunately we have many scheduled tours. Much of our revenue comes from these performances we showed off Portugal.

It's enough to keep the PTO sustainable?
EF: This is not an easy question to answer, if we take into account the public's PTO, it would be possible, but not in the same way today, because our work is very intensive, eight hours in this company. We would have to have a second job, but it was possible. Now we are opening the first museum of puppetry in the country, we will be the first theater company with our own estate and is particularly noteworthy, because we have no official support from the state.

It is in your facilities?
EF: No, it's near here, on the streets of Flores, in a building that was leased and restored, will be inaugurated on February 3rd.

Is there any show that throughout your career has scored the most?
EF: Yes, it's the show I'm doing, is a solo, a monologue, which was made by John Paul Seara Cardoso, who was released twenty years after his death and I succeeded him. It is very special to me, because it had to drive me; the whole process of creation came about through a DVD. It is someone I admire greatly and was a very important person in my life and an incredible challenge. It sucked all of me, the feeling, the emotion, the interpretation is the character of my life and I'll do it in February. I liked to take it to Madeira, but has not been easy, I have obtained no feedback. There is a person interested to bring the show there, but has been unable to muster the necessary support. The shows have its costs, but there are logistical complications, however, the scenario fits all in a bag. The play is called Little Red Riding Hood XXX is for adults, which do not have puppets, objects yes, I can give an example; the big bad wolf is a chicken that will seek every day to the butcher. (Laughs) It's a very interesting work!

https://www.facebook.com/pages/Edgard-Fernandes/247732558574905

http://www.marionetasdoporto.pt/