Inspired by the Roly-poly toy, a half sphere was built to be the stage. The performer evolves on top of it in a durational choreography. During the performance the stage and the performer will continuously be on the move for 6 hours.
Gustavo Sumpta was born in 1970 in Luanda, and currently lives and works in Lisbon. As a visual artist, he has held several individual exhibitions, including Luto at Galeria Casa A Molder,Lisbon (2020), Coser a Língua ao Céu-da-Boca,Rosalux, Berlin (2017); Gustavo Sumpta, Ar Sólido, Lisbon (2015); Boa hora para trabalhar, Uma certa falta de coerência, Porto (2014); Enquanto o sangue corre a pique, Parkour, Lisbon (2013). His work was also present in collective exhibitions such as O Tempo e o Modo, para um retrato da pobreza em Portugal,Pavilhão 31, Lisbon (2015); A Natureza ri da Cultura, Museu da Luz, Alqueva (2013); Gyumri Biennial, Ethnographic Museum of Gyumri (Armenia); and Prize EDP, New artists, Central do Freixo, Porto. As a performer, Gustavo Sumpta presented Roly-Poly toy, at Festival Temps dImage (2020), Levantar o Mundo (2020), at Festival Cumplicidades in Lisbon, Pó de lâmpada, Galeria Pedro Oliveira, Porto, and ZDB, Lisbon (2015); Comboio Fantasma, Calçada do Combro, Lisbon (2012); A raiz da fruta, Point d’impact Festival, Geneva (2010); Assim não vais longe, RE.AL, Lisbon (2008); Amigo do meu amigo não é meu amigo, Centro Cultural de Vila Flor, Guimarães (2006); and Vitória, vitória, acabou.se a história, Toxic project, Fundição de Oeiras, Oeiras.
Author: Gustavo Sumpta
Direction José Miguel Pinto
Production coordination Valentim Neves
Artistic coordination Francisca Marques
Audiovisual coordination Bruno Lança
Master locksmith Hélder Fernandes
Production assistants Carlos Arteiro, Carlos Santos, Gil Madeira e Jorge Santos
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Mickael de Oliveira was born in France, in 1984, and has lived in Portugal since 1999. In 2013, he got his Ph.D. in contemporary Portuguese and European dramaturgy from the School of Humanities – University of Lisbon, where he is post-doctoral fellow researching the presence of literature in contemporary theatre and dance. In 2008, Mickael founded Colectivo 84, the theatre company for which he develops playwriting and directing projects. His work O que é teu entregou aos mortais was distinguished with the Maria Matos New Playwriting Award (Maria Matos Municipal Theatre, 2007), and Clytemnestra received an Honorable Mention – António José da Silva Prize (D. Maria II National Theatre, Lisbon / FUNARTE, Brazil, 2012). Some of his most recent productions include Oslo–Fuck Them All and Everything Will Be Wonderful (co-created with Nuno M Cardoso, Gil Vicente Academic Theatre, São Luiz Municipal Theatre), The Constitution (2016, Dona Maria National Theatre), and the diptych Socrates Must Die (Socrates’ Death / The Life of John Smith, 2017/2018, Vila Flor Cultural Centre, São Luiz Municipal Theatre, Viriato Theatre, Gil Vicente Academic Theatre. Mickael has served as the artistic director of END – New Dramaturgy Encounters, a project that aims to foster new Portuguese and international playwriting (1st edition at the São Luiz Municipal Theatre, Lisbon, Nov. 2010; 2nd and 3rd editions at the Gil Vicente Academic Theatre, March, Coimbra, 2015/2019). He was Assistant Professor of Arts Administration and Artistic Studies at the School of Education and Humanities (Leiria), guest Lecturer at the School of Theatre and Film Studies (Lisbon), and guest Assistant Professor at the School of Humanities – University of Coimbra. From September 2011 to August 2015, Mickael was Assistant Artistic Director of the Gil Vicente Academic Theatre (Coimbra).
Patrícia Portela is a writer and performance maker born in 1974, living between Belgium and Portugal. She has a BA in set and costume design by the high school of theatre and cinema of Lisbon, a Masters of Arts in scenography and dramaturgy of space from the University of Utrecht and Saint Martins college of art in Antwerp, a post-graduation in theatricality and performativity from APT in Antwerp, a film stage at the European film school in Ebeltoft, Denmark, and a Masters in Philosophy of the University of Leuven, Belgium. Since 2003 she has worked on her own performances and installations in collaboration with international artists. She has achieved national and international recognition for her unusual work and is considered one of the most daring artists and innovative writers of her generation. She won the Revelation Prize in 1994 for her creative work in performance and cinema, the Prize Teatro na Década for T5 in 1999, the Gulbenkian Foundation Prize Madalena de Azeredo Perdigão for the performance Flatland I in 2004 and was one of the 5 finalists of the Sonae Media Art Prize 2015 with her installation Parasomnia, amongst other prizes. She has been invited to participate in the prestigious International Writing Program (IWP) at the University of Iowa in 2013 and to be the first Outreach Fellow. She was the first literary resident in Berlin in 2016, sponsored by the Portuguese Embassy in Germany/Instituto Camões. She lectures “dramaturgy and space” and “image” regularly at Universities and cultural centers in Portugal (such as University of Minho or University of Lisbon) and abroad (University of Antwerp, Escola de Escrita in Curitiba, etc). She is the author of several novels, short stories and performances, such as Dias úteis (2016, considered one of the books of the year by several reviewers) or Banquet (finalist at the Novel Prize of APE 2012). She is a chronicle writer for the prestigious Jornal de Letras since 2017 and for the National Radio Antena 1.
Rui Horta was one of the most influencial choreographers of his generation, his work being presented all over the world such as the Theatre de la Ville, that co-produced it for over a decade. He directed S.O.A.P. at the Mousonturm, and created for many companies such as NDT, Cullberg, Geneva, Gotemburg, etc. 
