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Pessoas Patiencies

A dramatic fugue in four voices

based on the 'Book of Unrest' and other texts by Fernando Pessoa  




text, stage-direction, set- & costume-design: Cordelia Dvorák

production assistant: Claudia Cabrera

light: Raffael Mendoza

choreography: Rafael Rosales

music: Erando González

with Silverio Palacios / Erando González, Arnoldo Picazzo, Juan-C.arlos Remolino / Carlos Orosco

and Antonio Salinas

production: Cordelia Dvorák & Companía Miranda

Teatro Helénico / Festival Londrina


Mexico / Portugal / Germany / 2005


Lisbon. Rua dos Douradores : The desk of an accountant who is a poet.

And from there he imagines life. The sea is not far. And yet too far.

Thought sails are hoisted, day after day. But the longing remains.

On the lower floor: the ordering of the seas as trade correspondence all over the world.

Above: fictional dialogues, imagined encounters with 'alter egos' and heteronyms,

reflected in infinite monologue-loops and mirrored again and again along imaginary life coordinates.

Have and should of unpaved days. Daily verification of the existence account.

A "drama en gente".


Scrip and director: Cordelia Dvorák

Lightening: Raffael Mendoza

Set- and costumedesign: Cordelia Dvorák

Music: Erando González

Production assistance: Claudia Cabrera

Producer: Cordelia Dvorák / Companía MIranda & FONCA

Teatro Helénico, México City: 2005 / 2006

Festival Internacional de Londrina / Brasil

with Erando González, Silverio Palacios, Arnoldo Picazzo, J. C. Remolina

Carlos Orosco and Antonio Salinas

Lisbon, rua dos Douradores: The desk of an accountant, who is actually a poet,


and from there thinks life.

The sea is not far, and yet too far to set sail and set out.

Sails of thought are nevertheless hoisted, day after day. But the longing remains.

Downstairs: The accountant Bernardo Soares, behind half-closed blinds in the semi-darkness

of an import and export office.

The upper floor: imagined encounters, fictitious dialogues and alternating life hypotheses


between Alvaro de Campos, Ricardo Reis and Alberto Caeiro.

First-person drafts are played out, like desperate patience.

Everyday reassurance of one's own existential account: credit and debit of unsecured days.



"Pessoas Patiencencies: a thoroughly sensual enjoyment !"



“... a poetic collage that leads us into Pessoa's reflections on life.

A moving theatre experience that reminds us of the impetus of the Book of Unrest.”

Silvia Ortega, time out


"Based on the fragmentation of the main character in four voices, an extremely

convincing scenic play that doesn't neither avoid humor  (...) The evening is compelling

in its discipline, rigor and simplicity, with which a great enchantment is achieved, we rarely

experience in contemporary theatre."

Noé Morales, Jornada semanal


“Cordelia Dvorák and her experienced team set out on the difficult path

to make the invisible universe of the poet Pessoa visible on stage. The result is great (...)

At the end of the theater evening, the impression remains of having been a secret guest in Pessoa's soul world.

Thanks to the dramaturgical rigor and the compellingly magical image, there are no emotional excesses,

but the moving encounter with this kind of Pessoan world and life pain, which persecutes us all again and again."

Fernando de Ita, REFORMA


“Cordelia Dvorák shuns the theatrical convention of conflict dramaturgy by offering much more intimate encounters ...

Pessoa's language complements wonderfully with the scenic and choreographic elements,

including Portuguese fados and Stravinsky touches. ”

Erika Bucio, REFORMA


- awarded in 'Tiempo libre' as one of the three best theatre productions in 2005 -



Un Mambo con La Catrina

13 scenic calaveras between this world and the beyond


after 'Bajo tierra' by Davíd Olguín

with texts by Octavio Paz, José Gorostiza, Xavier Villarutia, Rosario Castellanos, Jaime Sabines and José Gudalupe Posada


Text-adaptation, stage-direction, set- & costume-design: Cordelia Dvorák

Production: Cordelia Dvorák & Cia. Miranda

Lightening: Raffael Mendoza

Choreography: Emma Trujillo

Music: Erando González

with Adriana Ríos, Carlos Cobos, Arnoldo Picazzo and José Flores


Switzerland / Mexico / 2009

Kulturbahnhof Basel / Festival más acá del más allá / FONCA / Fundación Bancomer


The Mexican death - La Catrina - is a woman: sensual, humorous and sexy.

Dressed in chocolate and sugar and tastes sweet. That's why you'd rather dance with her than flee her

- a mambo for example ...

A modern interpretation of the Mexican death myth, inspired by Holbein's Dance of Death-Zycle in Baal and the calaveras by the famous Mexican lithographer of the revolutionary era, José Guadalupe Posada.


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"A sensual satire about Mexico, how it suffers and lives - a great tragic comedy!"



“A round of thirteen scenic vignettes in a meta-theatrical role play:

Theatre as an escape and a playfull space in the face of transience ...

On the painful borderline situation of Mexican migrants, the sexual confusion

of Catholic priestsand cowboy-like political conspiracies are alluded to as well as our

own paradoxical attitude between hate and love, humor and horror that characterizes

our attitude towards finitude."

Noé Morales: La Jornada semanal


“In a powerfully ironic-satirical gesture, the director unites Posada's caricatures

in this vivid baroque spectacleabout the difficulties of life with the idea of ​​Hans Holbeins'

dance cycle. Cordelia Dvorák brilliantly portrayed the artist Posada in his own universe in

this macabre carnival. (...) A bittersweet mambo. "

Jorge Ricardo, La Jornada


“A death-dance imaginary-sheet between pleasure, shudder and critical satire (...) with a lot of dance and singing

on the catwalk between this world and the afterlife (...) as well as allusions to the political scandals of recent months (...)

which are held up to the public as a frightening caricature mirror.

This multifaceted chamber musical was celebrated with great enthusiasm by the festival audience.”

Ingrid Vega, La Crónica


“And so we live the 'borrowed' life of two gravediggers, the clerical meeting of Father Cobos and his valet Clavito, the“ preciosos ”and other personalities of current political life, which are wonderfully reinforced due to the great musicality and physical expression of Carlos Cobos and Arnoldo Picazzo, the vocal sensuality of Adriana Rios and the troubling presence of Marcelino Flores.”

Oswaldo Valdovinos, Uno más Uno



Ulissas - mujeres urgentes

homage to Clarice Lispector




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Text, direction, set- & costume-design: Cordelia Dvorák

Production: Cordelia Dvorák & Cia. Miranda

Lightening: Raffael Mendoza

Music: Erando González

with Gelía Álvarez, Adriana Ríos, Flor Edwarda Gurrola, Norma Angélica and Tara Para


Mexico / Brazil / Germany / 2009


A contemporary odyssey with seven oddyssas into the female cosmos, where they discover the secret and the challenge of their lives in the supposedly banal and everyday: in the reflection on motherhood while watching an egg on the kitchen table; or becoming aware of the impermanence when chewing a chewing gum aswell as encountering their  demons in the face of cockroaches, rats, chickens and a buffalo ...

In search of an emergency exit from their lives, they accidentally stumble into fantastic, surreal universes, where they have surprising encounters with God, death, love and their own masks





















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Yvonne, Princess of Burgundy

 by Withold Gombrovic

stage direction: Sylvia Ventoretti

costume design: Cordelia Dvorák




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120 grados

   by Sylvia Pellaez

    stage direction: Sylvia Ventoretti

    costume design: Cordelia Dvorák



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Las Meninas

by Ernesto Anaya

stage direction: Juan Pablo García

set- and costume design: Cordelia Dvorák

Teatro Juan Ruíz Alarcón



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Titus Andrónicus

after William Shakespeare

stage-directíon: Anna Francis Moor

set-design: Juliana Fessler

costume-design: Cordelia Dvorák



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by Igor Stravinsky

choreography: Angel Michels

light: Raffael Mendoza

costume-design: Cordelia Dvorák



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choreography: Angel Myers

light: Gabriel Mendoza

costume-design & masks: Cordelia Dvorák

Companía de Danza Contemporanea Querétaro 2001

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Opera Fantasma

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The Four Seasonns

 by Antonio Vivalentine


 Choreography: Angelo Myers

 Lighting: Raffael Mendoza

 Costumes: Cordelia Dvorak

 Companía de Danza Contemporanea de Querétaro, 2004

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Trilogía Copi

director: Daniel Giménez Cacho

set-design and light: Gabriel Pascal

costume-design: Cordelia Dvorák

Teatro El Milagro, México City 2003

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The blouses
of the Bohemian
An evening dedicated to Robert Gernhardt
directed by Annette Spola
stage- & light design: Eberhard Kürn
ostume design: Cordelia Dvorak
Kammerspiele, Munich 1998


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