The outset of mental torture. Through the lens of the Ticking Time Bomb Scenario

No doubt shall be placed when qualifying torture as one of the cruellest crime offences against human beings. It is widely known that the first torture practices go back to the Middle Ages, where torture mechanisms and devices were used as a legitimate means of punishment, extraction of confessions or executions. Brutal techniques such as ‘Judas Cradle’, ‘The Rack’ or the ‘Rat Torture’ were indeed, the ones commonly used. Moreover, some centuries onwards, torture warrants were permitted and authorised by Privy Councils in legislations such as the English one. However, examples like that were the only ones which public accountability was given to, whereas off-the-book practices remained in silence in other countries for long lasting years. Nowadays, in the 21st century, there are innumerable enforced laws and provisions that prohibit the act of torture, to be precise, physical and psychological torture. Nonetheless, not only are these legislations necessary for fighting torture, but also ad hoc courts and specialised committees continuously report the existence of this crime offence.

Acreditando... É possível: Três meses de viagem

Fiz o meu estágio curricular na companhia Trigo Limpo Teatro ACERT, em Tondela. Uma companhia com uma essência e um carisma singulares e especiais. Estive lá três meses (de março a maio). Tive oportunidade de acompanhar inúmeras actividades e participar em vários projectos, em vez de (como na maioria dos estágios desta natureza) integrar exclusivamente um processo de criação artística. Procurando facilitar a organização e compreensão do meu percurso na ACERT, defini três fases do meu estágio: a fase de conhecimento e entrosamento na companhia; a Queima e Rebentamento do Judas; a Fantástica Aventura duma Criança chamada Pinóquio. Foi desta estrutura que parti para passar para palavras o que experienciei e cresci na ACERT, não só como actriz, mas como pessoa. Num registo pessoal, descrevo no relatório de estágio os momentos mais relevantes de todo o processo, o que aprendi com os mesmos e o que mudou em mim. /ABSTRACT: I did my curricular traineeship at the Theatre Company Trigo Limpo Teatro ACERT, in Tondela. It's a theatre troupe with an essence and a charisma very special and unique. I was there for three months (from March to May). I had the chance to accompany many activities as to participate in several projects, instead of being parte only on one creative process. Trying to make the understanding and organization of my path in the ACERT easier, I defined three phases on my traineeship: presentation and integration with the whole team; the street show Queima e Rebentamento do Judas; The fantastic adventure of a child called Pinóquio. This was my starting point to write about all I experienced and developed at ACERT, not only as an actress but also as a human being. ln an informal register, I describe on my report the process' most relevant moments, what I've learned with them and what has changed about myself.