|Thu 20 April 2017 20:30||Kaaitheater|
|Sat 1 April 2017 20:30||Théâtre Garonne|
|Fri 31 March 2017 20:30||Théâtre Garonne|
|Thu 30 March 2017 20:00||Théâtre Garonne|
|Wed 29 March 2017 20:00||Théâtre Garonne|
|Tue 28 March 2017 20:00||Théâtre Garonne|
|Sat 25 March 2017 21:00||Teatro Nacional São João - Porto|
|Fri 24 March 2017 21:00||Teatro Nacional São João - Porto|
|Thu 23 March 2017 21:00||Teatro Nacional São João - Porto|
|Wed 22 March 2017 19:00||Teatro Nacional São João - Porto|
|Sun 19 March 2017 19:00||Teatro Nacional D. Maria II|
|Sat 18 March 2017 19:00||Teatro Nacional D. Maria II|
|Fri 17 March 2017 19:00||Teatro Nacional D. Maria II|
|Thu 16 March 2017 19:00||Teatro Nacional D. Maria II|
|Wed 15 March 2017 19:00||Teatro Nacional D. Maria II|
|Sun 12 March 2017 16:00||Teatro Nacional D. Maria II|
|Sat 11 March 2017 21:00||Teatro Nacional D. Maria II|
|Fri 10 March 2017 21:00||Teatro Nacional D. Maria II|
|Thu 9 March 2017 19:00||Teatro Nacional D. Maria II|
When we read, we make choices. We translate what we read into the language of our lives. The pages are illuminated by the candle of our experience and that flame flickers and changes colour because of what we read.
We know a book can change us. Reading the description of a ball, the reader might decide to divorce. Reading about the first glance exchanged between two characters, the reader might decide to marry. Reading a dialogue about mushrooms, a reader might decide to change jobs.
A book like Tolstoi's Anna Karenina can also be the collection of lives it has changed slightly or decisively, for better or for worse. Lives that might change the way Anna dies.
STAN's collaboration with Tiago Rodrigues started in 1997, when the company was invited for the first time by Centro Cultural de Belém in Lisbon. Tiago, at the time still a student at the Lisbon theatre school, took part in a workshop led by STAN. The following year STAN created Point Blank (after Anton Chekhov's Platonov) with Tiago in the cast. STAN and Tiago Rodrigues have kept up a regular collaboration since, with Les Antigones/Two Antigone, La Carta, Berenice, Anathema, L'avantage du doute, The Monkey Trial, and Nora. The way she dies brings together Belgian and Portuguese actors in the very first play written by Tiago for the company. The performance is a coproduction between STAN and Teatro Nacional D. Maria II, where Tiago is artistic director since 2015.
The way she dies. What if there are no happy families?
Cláudia Sobral, Sapo, March 9th 2017
Anna Karénine et cet amour qui fait si mal
Nicole Clodi, La Dépêche, March 30th 2017
Le portrait: Tiago Rodrigues
Estelle Spoto, Le Vif, April 7th 2017
First aid for broken hearts
The production has craftsmanship written all over it.
Ciska Hoet, De Morgen, April 21st 2017
Old Europe Is (Not) Dying, Tradition and Politics in Tiago Rodrigues' Sopro and Other Performances
Rui Pina Coelho, Critical Stages, June 2018
How we came to know all about love
‘The way she dies' is a wonderful gift. Books are frequently translated into stage plays, for sure, but more often than not, they get bogged down in the struggle to put the plot across in a performance, and in so doing lose its intrinsic meaning. Here, on the other hand, the game slowly but surely reveals what Tolstoy's text has done, what literature really does: it determined the rules of the game (of love) and the way we interpret its course. Even those who have never heard of Tolstoy, play out his story.
Pieter T'Jonck, Theaterkrant (Choice of the critic), February 22nd 2019
The way she dies: theatre after Anna Karenina
The Way She Dies is real theatre of ideas. The French translation also becomes the subject of the play. Thanks to several brilliant word plays and the trilingual ending, you start to ask yourself if the translations of Anna Karenina tell the same story. Is each translation an interpretation, is every reading personal?
This is how we read blog, February 27th 2019
text Tiago Rodrigues
by and with Isabel Abreu, Pedro Gil, Jolente De Keersmaeker and Frank Vercruyssen
coproduction STAN and Teatro Nacional D. Maria II
lighting design and decor Thomas Walgrave
costumes An D'Huys and Britt Angé
surtitles Joana Frazão
première March 9th 2017, Teatro Nacional D. Maria II, Lisbon