Raquel André

Raquel André was born in Caneças (Odivelas - Portugal) in 1986.
She started her artistic path as long as she remembers. One day she took a box full of handwritten letters, a correspondence from a family in the 70’s, 80’s and 90’s, and from then she made her first performance in 2009.
Since then she started having an interest in collecting. Specially in the idea of how to collect in the Performing Arts, about which she wrote a master thesis at University Federal of Rio de Janeiro (2016) mentored by researcher and performer Eleonora Fabião with a scholarship by Fundação Calouste Gulbenkian, Lisbon.
In 2011, she moved to Rio de Janeiro supported by the InovArt program of the Portuguese Ministry of Culture. A 5 month artistic residency in Companhia dos Atores turned out to be 5 years working near director and actress Bel Garcia in several theater productions (“Inbox", “Matamoros", “Peças em Galeria", “Oréstia", “Conselho de Classe” and “Beije Minha Lápide"). For Raquel, Bel Garcia became a reference for theater making and a reason to stay and love Rio de Janeiro.
During that time she also worked with César Augusto (actor, curator and director) in Galpão Gamboa – a cultural centre run by TV superstar Marco Nanini and producer Fernando Libonati - in which she co-programmed and produced Theater, Dance and Music.
For her, Brazil was a revelation and a moment to grow up professional and artistically. Living an ocean away from Europe brought her new perspectives and marked a big influence in her own works.
She studied in the Theater and Cinema School of Lisbon, and then worked with several portuguese artists from different artistic languages, she made television, and showed her own performance work in Portugal, Spain, Poland, Cuba, Argentina and Brazil.
She’s currently an APAP artist under the support of Teatro Nacional D. Maria II (Lisbon-PT). She lives in the Rio-Lisbon bridge and she only knows that she wants to continue traveling and working moved by her heart in different projects as a performer, actress.

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