Just as I thought

“Just as you thought,

I want to play!

just as you thought,

I want to live!

The baby will grow up

and this moment

so beautiful

You can’t miss it!”

Song by Hugo Possolo and Wem.

Parlapatões is back with its latest show for children, just as I thought – dito e feito. With 33 years of experience and over 69 productions to its name, the company is proud to present this latest production, written and directed by Hugo Possolo.

The new childrens play of Parlapatões is all about that magical time when babies are first discovering the world around them. It’s a truly special and endearing topic, and the show really captures that essence in a way that’s both lighthearted and thought-provoking.

The lovely Parlapatões have created a wonderful show that allows us to observe how babies form their cognitive and motor factors, their play and their perceptions of the world. Using the same principles, the clowns establish their comicality, which is absolutely adorable!

The show is full of laughter as these worlds intersect, mainly because mums and dads of babies can directly identify with the situations experienced on stage.

The Parlapatões have developed a staging in which the clowns use the same principles to establish their comicality, observing how babies form their cognitive and motor factors, their play and their perceptions of the world.

This show is a guaranteed source of laughter, as it intersects these worlds to generate plenty of giggles. Mums and dads of babies will find plenty to relate to in the situations experienced on stage.

The objective of just as i thought is to present the comical aspects of infant behaviour in an engaging and entertaining manner. It reflects the way in which we humans initially comprehend the world, with the objective of recognising our fundamental limitations and appreciating the virtues of our imperfections.

 The story was inspired by the recent experiences of the script’s author, Hugo Possolo, with his son, who is now five years old. Through observing his son’s early discoveries and adaptations, Possolo identified a key aspect that clowns must master to elicit laughter: the establishment of comicality.

The pervasive concern among parents regarding their infants’ potential for falls and other accidents, their early linguistic development, and the vocabulary they acquire in the first year of life gives rise to the assumption that they possess a comprehensive understanding of the risks their children may face. Adults tend to anticipate and avoid predictable accidents, yet they often learn alongside their children, sometimes even before they are able to teach.

The new Parlapatonic production features Wen’s partnership in composing the original soundtrack, integrated into the scene where comic choreographies narrate the situations experienced by the clowns/babies. Wen is the composer and musician of Tiquequê, a musical group that has had a significant impact on children and has dedicated its compositions to the children’s universe.

The concept is inspired by the way children grow and learn during the first few years of their lives. Rather than attempting to understand or explain the development of what is commonly referred to as early childhood, the approach brings actions and gestures with comic power to the stage.

It is noteworthy that this is precisely the composition of the clown archetype, particularly with regard to its innocence. The clown archetype is typically associated with children, both as an audience and as a behaviour. This is because the physical, cognitive, linguistic and socio-emotional development of children is a fundamental element in the synthesis of their expressions. The art of clowning did not originate with this audience. However, following the advent of the culture industry, with cinema and then television, clowns began to have a symbolism directly linked to children.