Trivia

Mother of Verónica Breia Filipe and Sara Sara Breia Santos aka Sara Breia; grandmother of Carolina Cabrita and Leonor Cabrita - Verónica's daughters - and of Daniel Adegas - Sara's son.

Started acting at the student's association of Faculdade de Ciências da Universidade do Porto, where she was taking Chemichal Engineering in 1963, and entered the prestigious TEC - Teatro Experimental do Porto in 1969.

In 1974 went to Lisboa, under contract by one of Vasco Morgado's theatrical companies, which she left to be co-founder with Mário Viegas's and the new stage director Filipe La Féria of the theatrical ensemble Teatro da Feira da Ladra - which she abandoned because she didn't like La Féria's shouting instructions.

From 1975 to 2009, she was resident actress with Teatro da Cornucópia, under the direction of Luís Miguel Cintra, at last playing relevant roles in relevant play writer's works, such as Ah Q of Jean Jourdheuil and Bernard Chartreu (1976), Alta Áustria of Franz-Xavier Kroetz (1976), Casimiro e Carolina of Odon von Horváth (1977), Não se Paga! Não se Paga of Dario Fo (1981), Três Irmãs (1988) and A Gaivota (2006) of Tchekov; Muito Barulho por Nada (1990), O Conto de Inverno (1994), Ricardo III (1995) and Cimbelino (2000) of Shakespeare; Auto da Feira (1988), Comédia de Rubena (1991) e Triunfo de Inverno (1994) of Gil Vicente; Um Sonho of August Strindberg (1998) and Tiestes of Seneca (2002). Near the end of her career, she recalls of her most impressive stage work to have been A Missão of Heiner Müller (1985) - shown just ten years after the end of the Portugal colonial wars, and dealing with the reflections and memories of a soldier who returns from war.