ABOUT JGM WORK
Garcia Miguel’s main artistic work feature is the rewriting and interpretation of classic texts and biographies, including Brecht, Cervantes, Chekov, Jean Genet, Peter Handke, Fernando Pessoa, Shakespeare, Sophocles, Strindberg, Gertrude Stein, Andy Warhol and Virginia Woolf, in addition to the production of original texts. In the last few years Garcia Miguel has collaborated with artists and performers such as Andres Beladiez, Alberto Lopes, Anton Skrypiciel, Carlos Pimenta, Chema Leon, Clara Andermatt, Edgar Pêra, Francisco Rocha, Lucia Sigalho, Luis Guerra, João Fiadeiro, João Brites, Michael Margotta, Miguel Borges, Miguel Moreira, Nuno Cardoso, Rui Gato, Rui Horta, Sara Ribeiro, Steve Bird and Steve Denton amongst others. His work has been exhibited in France, England, Walles, Germany, Senegal, Norway and Spain, where he was awarded in 2008 with the Prize FAD Sebastià Gasch.
Since 1995 Garcia Miguel has regularly presented his work in the most important theatre venues of the country. Disrupção (1995) CCB, Muda (1997) TNSJ/PONTI, Zona (1999) TeCA, Anoz (2000) CCB, DQ (2001) Teatro Rivoli, Dia do Desassossego (2002) CAM/ACARTE Gulbenkian, Special Nothing (2003) ACARTE Gulbenkian, Ruínas (2005) TeCA, Burguer King Lear (2006) TeCA, Made in Eden (2007) Teatro da Politécnica, As Criadas (2008) CCB, O Banqueiro Anarquista (2009) Teatro Maria Matos, Antígona (2009) Teatro A Comuna, Mãe Coragem (2010) CCB, The Son of Europe (2010) TeCA and Culturgest, Yerma ( 2013) CCB, La Vida es Sonho (2014) TNSJ, Oporto, Três Parábolas da Possessão ( 2014) TNDM II, Lisbon, Hamlet Talvez, CCVF and Teatro CIne Torres Vedras, amongst many others. He regularly presents his works on National and International Festivals such as Festival Internacional de Almada, Festival A8, P.O.N.T.I. in Porto, Citemor, in Montemor-o-Velho, Festival les Bernardines, Marseille, Festival Fringe of Edinburgh, Festival de Almagro, Festival AltVigo, MadFeria de Madrid, Mirada Festival and FIT-BH ( Brasil), etc...
Garcia Miguel is characterized by his taste for risk, for the provocation, the obscure deepness, and the enlightenment of crossing boundaries, the enchanted machinery, the baroque conceptualism and sophisticated sense of humour. All of this gave him his nickname of The Bear. He uses contradiction as a methodological element. He puts himself frequently in antagonistic positions as an instrumental resource for the development of aesthetic perspectives. He seeks a theatre that works like a hallucinogenic.
He differentiates himself through the utopia that theatre must serve to change the private world of those who still have the chance and ability to enjoy theatre as an art form, providing them with inner experiences, developing perceptions that allow for the expansion of reality.