The doors are a well-known comic device used plentifully in the traditional comedy, in Beaumarchais, for example. Enter and leave at the wrong time, put your foot in your mouth, see what was not supposed to or hide behind a curtain. Meanwhile the houses were lost. Or they were opened. In the shows I usually do with the Teatro Praga there are no delimitations, scene walls or doors built, windows, those things. And so the door comedy can jump to the comedy of identities: an actor who is so many names that enters and leaves the names as who enters and exits through doors. This is the comical device of THIRD AGE. To which is added an idea out of the plot of a play by Marivaux, Good Faith Actors (1757): A theatre company is hired to perform a comedy in order to celebrate a marriage, but the mistress of the house, for moral reasons, does not authorize. Whoever hired them promises that not only will there be comedy as the owner of the house will be protagonist of the show without knowing it. Running TERCEIRA IDADE around "Who am I?", nothing better than an actor who does not know that he is being an actor as an unsolvable dilemma, in a spiral of matryoshka doll prone to fights for the "character", for the person, for the subject and for all these identities present in a show. There are four characters who, before starting, have retired. They recall the times of the battles, stealing memories of the wars movies in Vietnam's jungles and cities in a state of siege, and protesting for a proper retirement. People with the past, which presents wrinkles where we do not see them. The closest horizon is death, but the melancholy is comedy and the desperation laughter. At times they seem to come out of veteran movies like RED, THE EXPENDABLES or the last ROCKY, in which a set of glories of the action films (Bruce Willis, Morgan Freeman, Sylvester Stallone, Mickey Rourke ...) reunite for a last mission. As if the film were forever the same. And this stillness would relieve us of age. We are young and old, we are actors and characters, and we enter and leave without leaving the same place. Is this not comedy?
Ana Deus and João Sousa Cardoso develop a work of performative creation around the various modalities of word and orality in contemporary Portuguese society. The show premiered in October 2012.
In the continuation of the work developed with the presentation of the play "Mazezam", Catarina Miranda and the Colectivo Flocks & Shoals meet again at Balleteatro, in order to deepen a scenic study on intermediate states of perception, based on the study of the Korean dance choreographic movement “salpuri" (contextualized in its origin as a cleaning and extraction event). The scenic space is organized as an interstitial site, simultaneously stagnated in time, condensing in itself, a loop of fluids, in perpetual motion. A collaboration of Antje Schmidt, Catarina Miranda, Daniela Schmidtke, Miranda Markgraf, Roger Russell and Rosabel Huguet.
Upon graduating from the Victorian College of the Arts in 1999, Lina became a member of  Garry Stewart’s AUSTRALIAN DANCE THEATRE (ADT) from 2000-2005, where she performed in Birdbrain, The Age of Unbeauty, Nothing, Plastic Space, Attention Deficit Therapy and Held. Lina toured extensively nationally and internationally with the company. In 2004 she was nominated for a GREEN ROOM award for her performance in The Age of Unbeauty at the Melbourne Festival. In 2003, she was awarded the EMERGING ARTIST award by the Adelaide Critics Circle for her works in  ADT’s in-house choreographic seasons of “IGNITION”, and has gone on to create her own works independently. Since leaving the company, she has performed in works such as Narelle Benjamin’s ‘Out of water”, Lucy Guerin’s “Structure and Sadness”, Troy Mundy’s “Green Demon”, Gideon Obarzanek’s “Glow” and Shona McCullagh’s (NZ) “Mondo Nuovo – A glimse of a new world”.  Lina recently received funding to develop her dance film title “This time”.