She was co-founder of Sin-Cera – Theatre Group of the University of the Algarve. In this group she took part in several works directed, namely, by José Louro, Pedro Wilson and Andrzej Kowalski, with texts by such authors as António José da Silva, Ibsen, Shakespeare and Gil Vicente. She attended courses, workshops and seminars of Interpretation, Vocal and Body Expression, Dramaturgy, Makeup, History of Theatre, Dancing, Acting on Camera, with several trainers, namely Fernando Midões, Fernando Santos, José Geraldo, Vera Maciel, Luís Vicente, Maria João Neves, Afonso Dias, Evegueni Beleaev and Eric Jaspers.
In 1999 she joins ACTA to play the character of Sabina Freire in Gente Singular, staging by José Louro from the works of Teixeira Gomes; followed by Mulher, mulheres, with texts by Jean Macconnel, Charo Solanas and Dario Fo/Franca Rame, staging by Luís Vicente; A Baronesa e a Porca by Michael Mckenzie, staging by Isabel Pereira dos Santos; Calígula by Albert Camus, staging by Paulo Moreira, in the role of Cesónia; the female character in O Primeiro by Israel Horowitz, staging by Elisabete Martins; Doubles ou Eles Eram Dois by Michael Frayn, staging by Jorge Soares; Flória Emilia on the show with the same title, texts by Jostein Gaardner, Saint Augustin and Teixeira de Pascoaes, with dramaturgy and staging by Luís Vicente; Morrer como um Marques by Alexandre Honrado, staging by Paulo Moreira; Ricardo III by W.Shakespeare, staging by Luís Vicente; O Empresário, dramaturgy and staging by Paulo Matos; mulheres.só, dramaturgy and staging by Luís Vicente; Dom Quixote, staging by Andrzej Kowalski; George Dandin by Moliére staging by Luís Vicente; Um Homem Singular – Retratos de Manuel Teixeira Gomes, by Alexandre Honrado, staging by Luís Vicente; O Primeiro by Israel Horowitz, staging by Elisabete Martins. In 2006 she completed her Masters in Theatre and Education by the UALg, directed by João Mota. She teaches the course of Theatre Workshop in Dr. João Lúcio School.
‘The actresses Maria João and Glória Fernandes give body and soul to the women that tell us of their bitter experiences on stage. ’Sulticio, 04/00 two beautiful actresses, Glória Fernandes and Maria João, who, with brilliance and proficiency, strolled around the texts, played with sentences, and that enjoyment was clear to us, toyed with words, smiled, shouted, screamed and enchanted by themselves alone.’
Ana Músico, Algarve Mais, Dezembro 2000
“Glória Fernandes, as Cesónia, proves once again, to be one of the best talents in ACTA.”
Cristina Pinto, Barlavento, 22/11/01
Flória Emília saúda Aurélio Agostinho, Bispo de Hipona Régia
‘It’s very important to point out the performing work of Luís Vincente and especially Glória Fernandes, an admirable work by the way it interprets the simultaneous richness of the character and of the text, and the almost absolute accuracy with which the work manifests itself. (...) And it’s essential to bear in mind the value of the show as a whole and the exceptional work of the referred actress.’
Carlos Porto, Jornal de Letras, 16/04/03
‘The actress, Glória Fernandes, gives the spectator a variety of emotions, through a serene and brilliant speech, that comes from a sensual and lucid woman.’
Postal do Algarve, 18/09/03
‘It’s a text for a great actress. After having started in Sin-Cera more than 10 years ago, Glória Fernandes has been improving as an actress in the several works she has developed, either in university theatre – who doesn’t remember the Concerto de Santo Ovídeo, or Casa da Boneca? – or in a professional company where she works as an invited actress. In this work Glória ceases to be Glória and definitely becomes Flória.”
Ana Oliveira, Algarve Mais, 04/03
A Baronesa e a Porca
‘(…) this show has the most beautiful performances by Glória Fernandes and Elisabete Martins.’
Magazine do Algarve, 05/01