Elisabete Martins

ACTA - Elisabete Martins

Born in Lisbon. Between 1993 and 1997, she takes part in the theatre amateur group ‘In Impetus’. Her first experiences in professional theatre happen when she takes the role as stagehand: in 1997 in the play Sétimo Céu, staging by Fernanda Lapa, at the Teatro Villaret, and, in 98, Pecado, a creation by Luis Castro for the CCB. In 1999, she’s one of the 12 trainees accepted in the ACTA Training course for Technicians, Actors and Theatre entertainers that she concludes in 2000. Still as a trainee she participates in some of ACTA’s productions and, in 2000, as an intern actress, she joins the cast of Auto da Barca do Inferno, by Gil Vicente, with staging by Pedro Ramos and Auto das Andanças, a collective creation directed by Luís Mourão and staging by Andrezj Kowalski. In 2001 she joins the cast of ACTA and in 2002 she signs her first staging: O Primeiro by Israel Horowitz. Since then, till today, she has been working with several directors, such as Luís Vicente, Andrezj Kowalski, Paulo Moreira, Paulo Matos, Jorge Soares, and with texts by several authors: Gil Vicente, Shakespeare, Michael Mackenzie, Michael Frayn, Dario Fo and Franca Rame, Sharo Solanes, Alexandre Honrado, C.F. Ramuz, among others. In 2002 she attends the initial course for trainers training and since then, she has been working as a trainer in ACTA and other institutions. In 2003 she attends the course of mask technique directed by Mário Gonzalez of ‘Théâtre du Soleil’. Since 2001 she has participated as an actress in the program Theatre for Education (distinguished with the Gulbenkian Prize – 2010). She is co-author and director of the show Mais um Shot?!, which is about alcohol addiction amongst youngsters (school year of 2010/11), and a co-author of the text for the show A Mais Louca História da Aviação, in which she participates as an actress. She is in charge of the executive production in ACTA.


Não Está! ou a Saga do Director Geral

“The players in this show display a remarkable competence and talent. […] Do not miss.”
Algarve Hoje, 04/11/99

O Longo Sono da Heroína

‘Through the “hot seat” technique, Elisabete Martins got a moment of grandiose dramatic intensity, captivating the students, which earned her a spontaneous uproar of applauses. (…) It’s also worth to mention the way Elisabete Martins manages to discipline a group of young students, firmly and with determination, in a pedagogical way.’
EG, Região Sul, 31/01/01

O Primeiro

‘(…) to point out the surprisingly good work of Elisabete Martins, premiering as a stage director at 23 years old.’
João Prudêncio, Jornal do Algarve, 04/04/02

‘The audience, who applauded tremendously the first staging of Elisabete Martins, ACTA’s young actress. (…) With a performing work that improves with each production, the professionals that brought into life Horowitz’s characters contributed in a large amount to the quality of the play.’
Cristina Pinto, Barlavento, 04/04/02

A Baronessa e a Porca

“(…) this show has the most beautiful interpretations of Glória Fernandes and Elisabete Martins.”
Magazine do Algarve, 05/01

‘Her [Elisabete Martins] biggest performance yet as an actress happens, also in 2001, in A Baronesa e a Porca, by Michael Mackenzie, directed by Isabel Pereira dos Santos.’
Cristina Pinto, Barlavento, 21/03/02


“The show starts, and immediately the students are struck by the acting genius of Elisabete Martins. (…) Very effective and excellent work of this actress.”
Ana Cristina Oliveira, Jornal do Algarve, 09/02/06

George Dandin

‘Elisabete Martins reveals herself, once again, as a true force of nature, with the energy with which she expresses the trickery of Claudine, Angélique’s faithful servant. Elisabete Martins is the owner of a physical dexterity with which she lightens the drama of George Dandin (…)’
Ana Oliveira, Jornal do Algarve, 05/11/09

O Primeiro

‘Elisabete Martins managed to print a certain rhythm to the stage direction.’
Ana Cristina Oliveira, Jornal do Algarve, 21/04/11