Three actress friends – Anabela Almeida, Cláudia Gaiolas and Teresa Ferreira – get together to prepare a dinner party. The sounds and dialogues produced during the collective preparation of the dinner were recorded and this record formed the basis of a script: a matrix of actions, objects, places in the kitchen, routes and dialogues. The expression ‘execution project’ alludes to this statement defined at the outset (a project), it also alludes to the strategy of putting the personal and intimate experience of the dinner on stage (the scenic execution) and, finally, it alludes to the kitchen recipes, which determine the actions to be carried out in order to obtain a certain dish. Projeto de execução, the show, is a succession of attempts to do it. Prevalence is successively given to certain perceptual dimensions to the detriment of others: actions without a body, space without thickness, movements without text, etc. Among the various ways in which space is evoked (these are mainly projections), Chinese shadows are used to give the audience a glimpse of some of the procedures involved in preparing a meal that is actually taking place in the theatre and which is gradually giving off an aroma; it’s the spiritual codfish offered to the audience at the end of the performance.

In projeto de execução, the bridge linking reality (everyday life, intimacy) and the possibility of its performative representation is calculatedly stretched. A theatrical wandering around ‘things themselves’.