Who has the right to define what human rights are? There’s no easy answer. Ideas about what is right or wrong in the way people organise and interrelate vary greatly from culture to culture, and the possibility of a communion of values is all the more difficult the more one tries to achieve a “universality”. Choosing a group of people who can define human rights poses a problem of representativeness and, with regard to the representation of minorities, highlights the limits of democracy itself. Furthermore, the limits of what is considered “human” raises doubts, insofar as rights of other entities directly involved in human action should be considered. Mala voadora proposes to go back to the end of the Second World War to revisit the discussions that gave rise to the Universal Declaration of Human Rights within the United Nations. A group of actors meet in an assembly where they recreate these discussions, as described in the respective minutes and verbatims. Progressively, the interventions of the representatives of different countries will be transformed into music, in search of a redemption for history, in the sounds of words.
Jorge Andrade, com assistência de Pedro Moldão
Céline Camara, David Pereira Bastos, Jani Zhao, Jerome Varanfrain, Jorge Andrade, Magaly Teixeira, Manuel Moreira, Maria Ana Filipe, Mariana Magalhães, Pedro Moldão, Rita Reis, entre outros
José Capela, com edição de imagem de António MV
Production and communication assistance
Culturgest and Théâtre de Esch - Luxembourg
Research Theatre Commune, Largo School. Mala Voadora is a structure financed by the Government of Portugal–Ministry of Culture/Directorate-General for the Arts and is associated with O Espaço do Tempo.