DRACULA

For the making of this play, Dracula, both choreographers Claudia Martins and Rafael Carriço drew upon an extraordinary wealth of sources, besides the literary masterpiece with the same title by Bram Stoker, written at turn-of-the century, late-Victorian Britain. Newly created characters and others such as Baroness Bathory, further legendary tales, myths and fears that still haunt us today, they all served as mottos for their enormous creativity. Moreover, all these features share a cunningly sown thread, which lead audiences to the fabulous and utterly enigmatic world of horror. The beginning of the play is rife with highly suggestive ideas taken from the novel’s original course of action entangled with new and renewed ideas, which mysteriously swerve from it.

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Our substance is flesh brutally blooded and nourished by the essence of each of us.

Essentially, we are neither pure souls, nor do-gooders every day. Flesh is part of our own nature, and our greatest weakness too. Rotten by fear, we succumb to facile temptation, as often as not much too facile...