The Festivais Gil Vicente have been following the ongoing renewal of theatre in the country, proposing in their program a critical look at the new forms of representing this art that permanently reflects and challenges society.
We always try to project a tomorrow. And, in that act of foresight, offer a strong experience of ideas that respond to new artistic practices, new social connections, and new cultural foundations.
It is within this kaleidoscope of possibilities that we once again circulate the Festivais Gil Vicente through the city – between the theatre and the museum – certain that Guimarães is a city that is attentive and committed to discovering new artistic voices and welcoming the diversity of languages that today characterize the world (of theatre).
The importance of this edition can be justified by two world premieres (Era Rolim and Gaya de Medeiros with Ary Zara). By the return of Pedro Gil to stage directing with a talented cast. By (re)discovering Pedro Nunes – whose play went through a residency process at the Creation Center in Candoso. By witnessing the growth of the artistic vision of a creator from Guimarães (Rita Morais). Or by traveling through Shakespeare in an absolutely surprising way, guided by Marco Paiva.
But the Festivais Gil Vicente are much more than the sum of their shows. They are interconnected by a program that includes talks, training workshops, debates, and exercises in cross-critical vision – Hypertext is a new feature in this year's edition.
It is in this growth of a vision for tomorrow that we invest our research, to thus help consolidate a resident artistic community that can contribute to transforming Guimarães into a more creative, diverse, and capable social context for better living together.
The recent post-pandemic history has shown that Gil Vicente knew how to reinvent itself, attract new audiences to theatre, and stimulate the writing of new works, helping strengthen the country's contemporary identity.
In June, we’ll meet in the auditoriums, foyers, and rehearsal room (CCVF), at the museum (CIAJG), or in the main hall (Jordão). And also, in all the common spaces that make theatre breathe like never before.

Rui Torrinha