João Pedro
Schwingel Carada

WORLD OF INTERIORS is a performance-installation authored by artists Ana Borralho & João Galante. In this project, I participated as a guest performer, taking part in the preparatory artistic residency (July 17 to 21) and the public presentation at Largo do Romal, in Downtown Coimbra.

Faced with motionless and silent bodies arranged in public space, the audience is invited to abandon the role of mere observer, step closer, and build a relationship of intimacy. The performers whisper text fragments from the theatrical works of Rodrigo Garcia in a shared space, inviting those watching to find their own place to listen.

By exploring vulnerability and an intimate scale in urban space, the work questions the boundaries between the observer and the observed, transforming the artistic experience into a territory of encounter, silence, and sharing.

For two months, six artists from the Corpos Performáticos group of the PhD program in Contemporary Art at the College of Arts (UC), guided by Susana Chiocca, gathered to create SLOW as part of the Abril Dança Coimbra Festival.

In this project, I worked as a co-creator, stage performer, and sound designer / soundscape composer. Through dance, somatic methods, sound composition, and the subversion of Tai Chi, the collective proposed suspending time on the stage of Teatro Académico de Gil Vicente.

Attention and movement question the contemporary near-impossibility of stopping and contemplating: filming and observing snails, subverting the formal vocabulary of Tai Chi, serving tea, decolonizing the body and the word, making and unmaking so that desires stop being trampled by haste.

In this TEUC production directed by Hugo Inácio (performed by the 2025/2026 Theatre Training Course class), my work focused on executive production and management (as President of the TEUC Board), as well as assistant directing, sound design, and sound operation.

• Indoor Performances (May 2026): TEUC's Teatro de Bolso (May 7 to 10) and closing of the University Theatre Showcase (MTU) on the TAGV stage (May 16, MIMESIS UC Cycle).
• Urban Intervention & Festa do Inopinado (May and Sept 2026): Production coordination for the excerpt adaptation at the Bash Beer Urban Fest (May 9) and for the grand closing street parade of the 2nd edition of the INOPINADO Festival in Downtown Coimbra (September 20).

In Perpétuo Paredes, a play written and directed by Zé Paredes commissioned for the centenary of Carlos Paredes, I joined the cast as an actor/performer, sharing the stage with seven actresses and four live musicians. The play explores the tradition and aesthetic rupture of Carlos Paredes, having been presented at four major venues in Portugal and Spain:

• Convento São Francisco (Coimbra): October 1 and 3, 2025 (8th Edition of the Correntes de Um Só Rio Festival — 3 performances);
• Teatro Académico de Gil Vicente (TAGV): November 8, 2025 (Orphika Cycle — UC);
• Teatro da Cerca de São Bernardo (TCSB): February 20 and 21, 2026;
• Pazo da Cultura de Pontevedra (Spain): April 23, 2026 (XVII MITEU — International University Theatre Showcase).

café-com-leite (masc. noun / adj. — coffee with milk): 1. A brownish color similar to the color of coffee with milk. 4. One who is protected by indifference. Not understood enough to defend their position. Not naive enough not to participate in the action.

“When does someone become aware of their own body? And of the other's body? At what point do we build the bridge that connects us? And the sea that separates us? 130 km away there is a sense of belonging. Inside the door: affection. Outside the door: indifference.”

An authorial solo performance stemming from an autoethnographic investigation into racial identity, miscegenation, and displacement, anchored in my childhood memories in southern Brazil. The action unfolds in three moments: it begins as a relational device of hospitality, serving coffee with milk to passersby; shifts into an intimate ritual, bathing my own body in coffee with milk while reading memories from my diary; and concludes with washing my body with soap and water.

“There are nights that never end. Nights that drag on like roots, sink into the body, darken thought. Here, time is folded. The horizon is not a line, it is absence. And even so, something insists on dancing.”

Like birds that no longer know how to migrate, six bodies float between what was and what perhaps still has no name. In this territory of delirium and wind, reality dissolves in time, and every step can be a dream, an end, a beginning.

A collective creation by TEUC directed by Vicente Baptista. In this project, I worked simultaneously as a stage actor, co-creator of the dramaturgy, set design, and costumes, and designer of the original soundscape and sound art, composing the electroacoustic textures and sonic environments that structure the atmosphere of the play.

De Onde Vem? Canções Para Conversar e Criar was a community art and musical co-creation project conceived, coordinated, and facilitated by me within the 2nd edition of the Terra a Terra program by Orquestra Sem Fronteiras (OSF).

Developed in Castelo Branco with young immigrants (aged 6 to 26) participating in the project “Nós com os Outros” (Amato Lusitano Association), the project used popular song as a territory for encounter, musical training, and collective expression.

Throughout sessions of body percussion, voice, lyric writing, and shared listening, artistic practice served as a tool for social inclusion, identity affirmation, and intercultural dialogue.