Brief CV: Jean Paul Bucchieri was born in Italy in 1967 and has been living in Portugal since 1993. He earned a PhD from the Faculty of Human Motricity (FMH) of the University of Lisbon with a thesis entitled O Terceiro Corpo na Escrita Cénica Contemporânea [The Third Body in Contemporary Scenic Writing], with a scholarship from the Foundation for Science and Technology (FCT). He attended the Opera Stage Directing Course under the Creativity and Artistic Creation Programme at the Calouste Gulbenkian Foundation. He is part of the Theatre and Film School Faculty, where he lectures the Performance and Body Seminars in Theater Undergrad Courses, as well as Interpretation and Movement Seminars in the Arts PhD. He presides the Theatre and Film School Board of Representatives. He is an integrated member and researcher at CIAC – Centre for Research in Arts and Communication. He emphasizes his participation in Bob Wilson’s projects both as assistant and as interpreter and he also collaborated with Ana Luísa Guimarães, Jorge Listopad, Maria João Pires, Vadislav Paz, Natália Luísa, Miguel Seabra, Teresa Gafeira, Joaquim Benite, João Mota and Álvaro Correia. As an interpreter he highlights the work with Olga Roriz and Nuno Carinhas. As creator, he regularly presents his projects in the field of performing arts, theater and opera. He has recently staged the opera The Human Voice by Jean Cocteau at the Temps d’Image Festival, which took place at S. Luís Theater in Lisbon. In December 2017 he debuted his most recent project, Esquecer [Forgetting], with texts by Dimitris Dimitriádis, in a co-production with Dona Maria II National Theater in Lisbon.

Research Interests: His scientific research centers on the interpreter’s work and his relation with performing arts, with emphasis on the problems caused by the gradual fading of the borders that separate the different performative languages. He is interested in researching the idea of non-interpretation in the interpreter’s work. His line of research, carried out daily through pedagogy and through artistic creation, lies in the possibility of working with both theory and practice without setting them apart. He has recently been interested in the mechanisms of confirmation/satisfaction within the actor’s work, which he intends to expand in a post-doctoral thesis.

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