Showing posts with label Memórias. Show all posts
Showing posts with label Memórias. Show all posts

of memories



















Understand the things I say
Don't turn away from me
'Cause I spent half my life out there
You wouldn't disagree
D'you see me, d'you see
Do you like me, do you like me standing there
D'you notice, d'you know
Do you see me, do you see me
Does anyone care?
Unhappiness, where's when I was young
And we didn't give a damn
'Cause we were raised
To see life as a fun and take it if we can
My mother, my mother she'd hold me
Did she hold me, when I was out there
My father, my father, he liked me
Oh he liked me, does anyone care?
Understand what I've become
It wasn't my design
And people everywhere think
Something better than I am
But I miss you, I miss
'Cause I liked it, 'cause I liked it
When I was out there
D'you know this, d'you know
You did not find me, you did not find
Does anyone care?
Unhappiness was when I was young
And we didn't give a damn
'Cause we were raised
To see life as fun and take it if we can
My mother, my mother she'd hold me
Did she hold me, when I was out there
My father, my father, he liked me
Oh he liked me, does anyone care?
Does anyone care?
Does anyone care?
Does anyone care?
Does anyone care?
Does anyone care?
Does anyone care?
Does anyone care?
Doo doo doo do, doo doo doo do
Doo doo doo do, doo doo doo do
Doo doo doo do, doo doo doo do
Doo doo doo do, doo doo doo do

Memórias de território



O corpo, um território com memórias (cicatrizes), histórias...
E a distância óptima será definida pelas histórias que ele encerra (o corpo).
Arrisco dizer...

Janeiro 2016 - Para ficar na memória




Sweet Bird of Youth (1959)
de Tennessee Williams

Tradução: José Agostinho Baptista. Encenação: Jorge Silva Melo Cenografia e Figurinos: Rita Lopes Alves
Luz: Pedro Domingos Som: André Pires
Assistência de encenação: Leonor Carpinteiro e Nuno Gonçalo Rodrigues

Com:
Maria João Luís (Princesa)
Rúben Gomes (Chance Wayne)
Américo Silva (Boss Finley)
Catarina Wallenstein (Heavenly)
Eugeniu Ilco (Bud)
Isabel Muñoz Cardoso (Tia Nonnie)
Nuno Pardal (Tom Junior)
Pedro Carraca (George Scudder)
Pedro Gabriel Marques (Stuff)
Rui Rebelo (Jackie)
Simon Frankel (Provocador)
Tiago Matias (Scotty)
Vânia Rodrigues (Lucy)
Alexandra Pato (Edna)
Francisco Lobo Faria (Rapaz)
João Delgado (Rapaz)
João Estima (Paquete)
Mauro Hermínio (Fly)
Mia Tomé (Violet)
Nuno Gonçalo Rodrigues (Rapaz) 
e com a participação de João Vaz (Hatcher e trompete)

Coprodução Artistas Unidos, São Luiz Teatro Municipal, TNSJ

Influenciando a memória


Sobre Elizabeth Loftus

"If I have learned anything from these decades of working on these problems, it's this: just because someone tells you something and they say it with confidence, just because they say it with lots of detail,  just because they express emotion when they say it, it doesn't mean that it really happened. We can't reliably distinguish true memory from false memories."
Elizabeth Loftus

Everybody's gotta learn sometime



“How happy is the blameless vestal’s lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray’r accepted, and each wish resign’d”
Alexander Pope

"Blessed are the forgetful: for they get the better even of their blunders."
Nietzsche

Memórias


A vida relatada


"The best solution is to remember that there will always be a new social media tool, a new gadget, or a new technology that will ask for our attention, but there will never be a tool that replaces our memories when we allow ourselves to be fully present. There are several recent studies that say not only can’t we multitask successfully, but that multitasking prevents us from remembering life experiences as well as we could. The next time you are having a breath-taking experience, try not to do a Pavlovian reach for the smartphone."
Muito mais aqui.

Memórias

Significante

Forgetting is the most complicated of locks, but it is only a lock. It is not an eraser or a sword, it does not efface, nor does it kill; it imprisons. I know now that the mind picks up everything, files it, classifies it, and keeps it all. It all has meaning: even what I think I have not seen, heard, or felt, even what I think I haven't understood, even the minds of others. Every event, no matter how minuscule, no matter how ordinary (as, for example, stretching in the morning when yawning), is catalogued, labelled, and locked away in oblivion, but marked in consciousness by a signal which is often microscopic: a scented sprig, a flash of colour, a blinking light, a fragment of sensation, a shattering word. And less even than that: a rustling, an echo. And still less, even: a nothing that is nevertheless something.
Marie Cardinal, The Words to Say It

As memórias cinematográficas da minha infância


1965 Fiquei a saber, de cor, todas as músicas. Realizei e encenei a versão para "teatro caseiro".


1967 Parte seca, parte muito interessante. Lembro-me da cena da concepção, das cenas em que o casal ia ao aconselhamento (consulta de planeamento familiar?) e do nascimento do bebé.


1970 Majestoso. Potente. Nunca mais esqueci a música de Grieg.


1971 Nesta altura já sabia o que era estar apaixonada. Não me lembro da história, propriamente dita. Lembro da emoção que o filme me causou, e da música dos Bee Gees (First of May).

Também vi muitos outros, mas não me lembro de mais nenhum a não ser destes quatro.

Avó #1 / Penélopes


Boreas, John William Waterhouse

Namorou 10 anos à janela.
Naquele tempo era assim.
Esperou 10 anos.
Casou com o homem que amou à janela.
Foi infeliz.
Esperou 4 filhos e muitos anos até se tornar viúva.
Depois voltou a viver.

Foi ela que me disse.

Recorrências / Abandoned to fate


Não me internem, não me internem.
Eu não estou louca. Não. Eu não estou louca!

Acabou internada. Impotente e cansada de resistir.

Ordens do médico substituto que desconhecia o processo.
Um equívoco. Fora um equívoco.

Eu teria os meus vinte e dois anos, na altura.
Ela, os seus 45 anos.

Que boas recordações isto me traz



Éramos vários amigos numa sala. Cada um com o seu instrumento musical. No gira-discos toca Dollar Brand (Ishmael). Nós, embalados, íamos improvisando, acompanhando a música.
Não sei se estão a ver bem.
(é pena este clip não ter a versão inteira)

E Você?


Até que ponto é que as suas memórias condicionam os planos que faz para o futuro?