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| Set of stamps |
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| Souvenir sheet I |
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| Souvenir sheet II |
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| First Day Cover with stamps |
All
of them, duly modernized, still exist until this day. But more than that,
Garrett’s own dramaturgy – of an exceptional level, despite fluctuations –
brought to Portugal, from the onset of the vigorous romanticism, a style and a
school, in some cases of outstanding quality, that fed both our literature and
our stages for almost a century. Even poets and novelists, who did not focus on
theatre, owe to him the renovation of style and content that to this day still
deserves highlighting. Camilo is a clear example.
However,
it was D. João da Câmara, at the passing of the century, who marked the
beginning of a realistic school that still subsist, coexisting, with full
quality and timeliness, with more modern currents that also marked and still
mark Portuguese theatre, from symbolism to modernism, from expressionism to epic
theatre and to theatre of the absurd.
From
the beginning of the 19th century, modernist or symbolist, authors such as
Almada Negreiros, António Patrício or even Fernando Pessoa (a sporadic
playwright) deserve highlighting; as well as prevalently (but not only) realist
authors, such as Carlos Selvagem or Ramada Curto; or even Alfredo Cortez, who
with Gladiadores introduced expressionism, among others.
They
ruled the Portuguese scene, especially in the first half of the 20th Century,
leaving continuity in names and notable works, as it is the case with José
Régio or Bernardo Santareno, but also authors like Luís Francisco Rebello,
Miguel Torga, Luís de Sttau Monteiro, Paço d’ Arcos, Cardoso Pires or in more
recent times, Mário Cláudio, Mário de Carvalho, Luísa Costa Gomes, Fernando
Dacosta, Norberto Ávila, Diogo Freitas do Amaral, Abel Neves, Isabel Medina,
Jacinto Lucas Pires…
Régio
and Santareno, each one in his own way, symbolized the transition in Portuguese
Theatre from a realistic line with poetic references, in a comprehensive sense,
to a dramaturgic conception marked by the conciliation between a traditional
poetic-dramatic mix and a spirited affirmation of modernity, both from the
stylistic point of view, but above all by the criticism of the contents: the
plays are profoundly critical and profoundly modern, even when taking place in
more distant times or in fantasy situations.
But
more than providing a mere list of names, it is important to underline the
aesthetic and stylistic renewal towards modernity which these dramatists
imprinted on Portuguese theatre. It is furthermore interesting to see how
Portuguese theatre, within the constraints that cyclically have influenced
dramaturgic production and performing arts since the 19th century, was able to
mirror the evolution of society, of attitudes and thought, of culture and art,
from Garrett to the present day.
It
should also be mentioned that, mainly after the end of the 19th century,
theatre–show in Portugal gained relevance and quality, following the brilliant
actors, stage directors and other scene artists who marked the regeneration of
our theatrical art. Names like José Anastácio Rosa and João Rosa, Eduardo
Brazão and Rosa Damasceno, Amélia Rey Colaço and Augusto Figueiredo, Armando
Cortez, Rogério Paulo and Laura Alves, Ruy de Carvalho, Cármen Dolores, Eunice
Muñoz and Raul Solnado, among hundreds of other great names of the stage who
have assured the continuity of this art, which sometimes is so poorly cherished
and understood among us!
Technical
Details
Date
of Issue: 08.09.2011
Values:
stamps of €0,32, €0,32, €0,47, €0,68, €0,80 and €1.00 and two miniature sheets
with two stamps of €1.00 each
Designer: Atelier Acácio Santos / Túlio Coelho
Printer:
Joh. Enschedé
Process:
4-colour offset lithography
Size:
stamps 40.0 mm x 30.6 mm
Souvenir
sheet 95 x 125 mm
Perforation:
Cross of Christ 13 x 13
Paper:
White TR CPST331 110g/m2
Watermark:
Sheet:
sheets of 50 stamps
