More than fifty years since the premiere of Happy Days, the opening scene of Samuel Beckett’s play continues to surprise, intrigue and disturb us.
Under an inclement sun, a woman buried up to her waist acts as if that were the most natural thing in the world, responding to the cruel strangeness of her circumstances with a falsely good-humoured discourse and ritualised habits. Willie is her sleepy, laconic and intermittent husband, the subject of Winnie’s garrulousness, until words fail them…
Fresh from the choreographed chorality of Maria Velho da Costa’s Casas Pardas (2012), Nuno Carinhas embraces now the chronometric immobility of Samuel Beckett’s play, discovering in the elementary aridity of the Irish playwright’s text a surprisingly fertile metaphor, able to convey the human condition as well as the activity of performing on the stage or the feel of a devastated civilisation.
For this new incursion into the near-despairing intimacy of Beckettian drama, the TNSJ’s artistic director has called Emília Silvestre and João Cardoso, actors whom he has directed in a series of adventures, namely the “God-forsaken hole” that was Todos os Que Falam, a 2006 production made up of four ‘dramaticules’ by Beckett.
Ah, Os Dias Felizes (Happy Days)
By Samuel Beckett
Directed by Nuno Carinhas
Performed by Emília Silvestre, João Cardoso
Produced by TNSJ
In collaboration with Fundação CCB
At TNSJ Porto, Portugal
15 - 11 November 2013