Teatro S. João names its main hall after Ricardo Pais

The Teatro Nacional de São João (TNSJ), in Porto, will name its main hall after Ricardo Pais , as part of the tribute to the 80th birthday of the director who conceived its structure and ideology.

Speaking to reporters while his name was being displayed in the main auditorium inside the theater, Ricardo Pais confessed to being "moved" by the distinction, which he viewed with humor. "There should be some bananas and a Carmen Miranda next to it; it'll have a terrible Las Vegas feel," the director quipped, adding that "no one could wish for anything better than to have their name on a theater hall."

The official ceremony will take place on October 16th, as part of the “RP 80” program, which also includes the replacement of his emblematic pieces Turismo Infinito and al mada nada , shows that the creator considers to represent “ a pre-posthumous tribute” that gives him “some joy”, as they reflect the best of his creation .

"There are shows that never die," he stated, highlighting the longevity of Turismo Infinito , a work created 18 years ago and successfully presented in Portugal, France, Germany, and Brazil. "There are audiences who have seen Turismo Infinito four times and will see it again for the fifth time," he said, considering the two works "a good example" of his career.

Regarding Infinite Tourism, he said it was "one of the most refined things" he's ever done, a synthesis of his way of connecting "stories through the senses." Meanwhile, "Al Mada Nada ," inspired by a short story by Almada Negreiros, is, for Ricardo Pais, "full of histrionic vitality," revealing a "catharsis" in the face of the memory of wars.

The director emphasized that the choice of works was made for practical reasons, as "there was no time to rehearse anything new," and praised the "great effort of the TNSJ administration." "These are shows that everyone loves to see and regrets not being able to see again," he stated.

When asked about current theatrical culture, Ricardo Pais confessed that he is not "very optimistic" because he does not have a clear vision, but he hopes that the future of theater will focus on its specificity, arguing that dramatic art should be thought of in terms of what distinguishes it.

On the sidelines of one of the press rehearsals for the program "RP 80", the director also took the opportunity to speak out about the model of public competitions for directors in Culture, which he classified as "canine stupidity" and a "false democratic gesture".

"I think the competitions are dog-eat-dog stupidity. It's a false democratic gesture to invite people from abroad to earn the pittance they earn here," he stated, considering that the current system serves as a way for the State to abdicate its responsibility to understand, with those who know, how to choose a good director.

"The selection should be pre-selected, not just anyone. This creates that very nice thing, which is—and which was very useful during the 'Costa dictatorship'—that we consider ourselves to be immensely democratic because we open a competition," he argued.

Despite criticism of the model, Ricardo Pais considered the choice of Victor Hugo Pontes to lead the TNSJ to be positive, stressing that his work is “very interesting and good”, although he sees the formula of the competition for a Public Business Entity (EPE) as “dubious”.

The director also criticized what he considers a "scandalous blow" dealt to previous theater leaders, referring to the case of Pedro Sobrado, chairman of the TNSJ board of directors. "Of course, later, when things don't go well, those who are in charge of these things get beaten up through no fault of their own, like the recent blow Pedro Sobrado received, which was absolutely scandalous," he said.

Choreographer and director Victor Hugo Pontes was chosen in the international competition launched in April to take on the role of artistic director of the TNSJ for the four-year period 2025/2028, after the candidate selected in the previous one, director Tiago Guedes, withdrew his candidacy “citing professional commitments in 2025 that proved to be unavoidable and incompatible with the performance of the duties for which he would be appointed”.

The “RP 80” program takes place between October 16th and 19th, with several activities that include, in addition to the reruns, the launch of the book Despesas de Representação — Ditos e Escritos (1975-2025), a reflection on half a century of his career.

The highlight of the program takes place on October 16th, with a formal session at 6:00 PM, when the TNSJ's main auditorium officially becomes the Ricardo Pais Room. This event is followed by the rerun of Turismo Infinito at 7:00 PM and al mada nada at 9:30 PM.

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The TNSJ emphasizes that the “RP 80” program “exceeds the logic of homage or personal celebration”, functioning instead as “an exercise in attention” to one of the central figures of contemporary Portuguese theater and his constant reinvention of memory, art and the stage.

Born in Leiria in 1945, Ricardo Pais is one of the most influential Portuguese directors of the post-April 25th period. He trained as a director at the Drama Centre in London, returning to Portugal in the 1970s, a period during which he established himself as a key figure in the aesthetic and institutional renewal of Portuguese theater.

Over more than five decades of activity, he has created productions that combine literature, music, and performance, exploring a theatrical language that combines formal rigor and poetic restlessness.

Ricardo Pais twice led the TNSJ—from 1996 to 2000 and then from 2002 to 2009—during which time he conceived the structure and ideology that reinvented the national theater model. Under his direction, the TNSJ promoted a repertoire of Portuguese and international authors, modernized its structure, and strengthened the role of public theater in Porto's cultural life.