DECEMBER 1ST to 5TH
MITsp’s program for the internationalization of Brazilian performing arts, Plataforma Brasil presents, in 2021, a digital showcase with 18 local works exhibited in video. The program is curated by Kil Abreu and Sônia Sobral and brings a selection of Brazilian productions from several states, featuring theater, dance and performance – some performances are new to MITsp, while others were included in its previous editions of MITbr – Plataforma Brasil. The shows will be presented for free to the general audience and programmers of national and international festivals invited by MITsp. The productions will have English subtitles, audio description and Libras (Brazilian Sign Language, BSL), and will be available, on demand, during the whole exhibition period.
The Tree
Alessandra Negrini, Ester Laccava, João Weiner, Silvia Gomez
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To Rave The Racial
Davi Pontes and Wallace Ferreira
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Desfazenda – Bury Me Far From This Place
O Bonde
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Glitch
Flavia Pinheiro
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Croocked Man
Eduardo Fukushima
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IN.VERSE ADRIFT
Les Commediens Tropicales
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Marise Maués
DANCED SERENADES
Soraya Portela
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Vapor
Original Bomber Crew
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IRON MOUTH
Marcela Levi and Lucía Russo
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DENMARK
Magiluth
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Transpophagic manifest
Renata Carvalho
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Elephant Protocol
Cena 11 Cia. de Dança
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(see[]have) adrift
Les Commediens Tropicales
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Traces
Marta Soares
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BOOK RELEASES
“The Tree” and “By Heart and Other Plays”
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THE TREE
Alessandra Negrini, Ester Laccava, João Weiner, Silvia Gomez
PARENTAL RATING: 14+
SYNOPSIS
A combination of theater and cinema, this monologue is based on fantastic and absurd aspects, discussing our relationship of love and ruin with the environment and the planet we live on. The narrative is about M. (Alessandra Negrini), who goes through a strange and inexplicable process of metamorphosis after a loss, which turns her body into a vegetable structure. On the verge of completing the transmutation, she bids farewell to her mundane physical traits with a conference, while reflecting on the extraordinary aspects of a human body experience.
BIOGRAPHY
Alessandra Negrini is an actress. She has appeared in soap operas and TV miniseries, such as “Engraçadinha” (1998), films like ” A Erva do Rato” (The Herb of the Rat, 2008), by Júlio Bressane, and “O Abismo Prateado” (The Silver Cliff, 2018), by Karim Aïnouz. In theater, she has acted in productions by directors Francisco Carlos (“Sonata Fantasma Bandeirante”) and Leonardo Medeiros (“A Senhora de Dubuque”), among others.
Ester Laccava is an actress and dancer. Her works in theater include “Garotas da Quadra” (2004), “A Festa de Abigaiú” (2007) and “Piscina sem Água” (2010). In 2011, she produced and acted in “A Árvore Seca”, for which she was nominated best actress in the Shell Award.
João Wainer is a journalist, photographer and filmmaker. He directed the feature films “PIXO” and “JUNHO”. João worked for the newspaper Folha de São Paulo for 20 years, and collaborated with newspapers and magazines like Vice, The New York Times, The Times, Rolling Stone and Trip. He currently directs documentary and advertising films, besides his own projects.
Silvia Gomez is a playwright, journalist, screenwriter and the author of plays such as “Mantenha Fora do Alcance do Bebê” (2015) and “Neste Mundo Louco, Nesta Noite Brilhante” (2019). She has been giving drama classes in institutions such as CPT_SESC since 2017. Currently, she coordinates the Núcleo de Dramaturgia SESI-SP.
CREDITS
Text: Silvia Gomez
Creation and screenplay: Ester Laccava
Directed by: Ester Laccava and João Wainer
Cast: Alessandra Negrini
Special guest: Gui Calzavara
Set design: Camila Schimidt
Costume design: Ana Luiza Fay
Soundtrack: Morris
Lighting design: Mirella Brandi
Assistant director: Elzeman Neves
Movement exercises: Ana Paula Lopez
Make-up artist: Beto França
Wig (characterization): Emi Sato/Tisse Sato
Technical director: André Prado
Stage manager: Jeferson de Oliveira Santos
Stage setting: José Alves da Hora, Patrick Lima dos Santos, Rafael Guirado Neto and Rafael Clemente
Lighting technicians: Ari Nagô and Jomo Olaniyan da Silva Faustino
Truck drivers: Marcos Araújo Honorato, Cláudio Garcia and Wilson Pereira Lima
Porters: Américo Dionísio, Elias Honorato dos Reis Araújo, Rafael Guirado Neto, and Patrick Lima dos Santos
Van driver: José Felisberto Neto
Bulla Company security guards: Marcio Antonio Bullara, Alex Sandro Tomaz Afonso and
Rodrigo Nascimento Almeida
Catering: Pai de Saia
Media advisory: Fernanda Teixeira
Graphic arts: Victor Bittow
Administrative assistant: Rogério Prudêncio
Local producer – Visconde de Mauá (RJ): Renato Diniz Bento
Executive production: Heloisa Andersen
Project management: Luana Gorayeb
Realization: Fontes Realizações Artísticas
Associate Producers: Alessandra Negrini and Gabriel Fontes Paiva
Film Crew
Directed by: João Wainer
Editing and co-direction: Cesar Gananian
Cinematography: Isadora Brant
Assistant director: Karine Damiani
Second camera: Giovanna Pontarelli
Sound mixer: Felipeh Silva
Operations coordinator: Frederico Kesselring
Photographic assistant: Uerlem Queiroz
Animations: Marina Quintanilla
Color grading: Gabriel Ranzani
Compositing: Jr Polenga
Post-production coordinator: Frederico Kesselring
Executive production: Roberto T Oliveira and Camila Villas Boas
Shot at FAAP Theater
External images in Visconde de Mauá (RJ) and in the city of São Paulo
FAAP Team
Director: Claudia Hamra
Assistants: Denis Cordeiro, Rita de Cássia Rodrigues and Wilson Marques
FAAP Theatrical activities assistants: Henrique de Moraes Gonçalves and Leandro Lima da Silva
FAAP Box office assistant: Bruno Rocco
Attendant: Thayannen Kelly Azevedo Feitosa
Light: Dos Santos Iluminação
Sound: MC Som
Sponsored by: UOL
Supported by: FAAP Theater
Acknowledgements: DOKA bathtubs, Rochele Alves, Priscila Jorge, Seu Jorge, Flavio Abreu, Hermeto Pascoal
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TO RAVE RACIAL
Davi Pontes and Wallace Ferreira
PARENTAL RATING: ALL AGES
SYNOPSIS
In this experimental work, Davi Pontes and Wallace Ferreira cope with uncertainty, disarray and temporality in order to conceive an ethics out of time for black lives. The duo is inspired by the ideas of artist and philosopher Denise Ferreira da Silva – who sees raciality not as something historical, but as an event detached from time. Furthermore, they add precepts from quantum physics and mathematics, such as the logical biconditional (↔), to create the equation: racial ↔ ️non-local. It is a logic that overrides the conventions of space-time and envisions another reality, a universe in which all particles coexist, without the ghost of linearity. Thus, in the shed where the performance takes place, time is distended, suspended, and the soundscape enhances the sensorial aspect of the work, which mixes movements and reflections, narrated by Davi’s voice in off.
BIOGRAPHY
Davi Pontes is an artist, choreographer and researcher, graduated in Arts at Universidade Federal Fluminense. From a corporal research, his practice carries the constant challenge of positioning the choreography to respond to his own onto-epistemological conditions, to politically address the circumstances in which it is being practiced. The artist has dedicated his practice to deepen concepts of raciality, choreography and self-defense and its mechanisms from the archive ideas contained in the production of the story.
Wallace Ferreira is a dance artist, performer and visual artist. Through “indisciplinary practices”, he works with an obsession to break through layers of the invisible, inhabiting fragilities, accumulating movements that wish to blur certainties and dispute narratives. Betraying words and producing images to touch with the eyes. Moved by the challenges of disturbing the present, since 2017 he has exhibited his work in art galleries, national and international festivals.
CREDITS
Directed by: Davi Pontes and Wallace Ferreira
Camera and Editing: Matheus Freitas
Soundtrack and sound design: PODESERDESLIGADO
Voice-over: Davi Pontes
3D: Gabriel Junqueira
Sound: Nuno Q Ramalho
Art direction and lighting: Iagor Peres
Styling: Iah Bahia
Set production: Idra Maria Mamba Negra
Set support: Gabe Arnaudin
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DESFAZENDA – BURY ME FAR FROM THIS PLACE
O Bonde
PARENTAL RATING: 12+
SYNOPSIS
The story portrayed in the documentary “Menino 23: Infâncias Perdidas no Brasil” (Boy 23 – The Forgotten Boys of Brazil), about Brazilian Nazis who took 50 black boys from an orphanage to be enslaved, is the starting point for this filmplay. The plot focuses on characters 12, 13, 23 and 40, black people who, when still kids, were saved from the war by a white priest. In a spoken word language, with few elements in the scene, the four characters tell their routine on the farm where they live, take care of the daily chores and are supervised by Zero. But in this isolated environment, the priest never leaves the chapel, the war never reached the farm, and whenever questions are asked, the bell sounds and everything goes back to the way it was before (almost always).
BIOGRAPHY
Founded in 2017, O Bonde is a theater group formed by black and peripheral artists from the Escola Livre de Teatro de Santo André. Its main research is the black theater and its contemporary diasporas that reverberate invisible materialities, not seen in the theatrical making, the investigation about the peripheral black body and the construction of a strong antiracist thinking concerning several forms of representation. The group has produced works like the children’s show “Quando Eu Morrer, Vou Contar Tudo a Deus” (2019), based on the true story of Abou, an 8-year-old black boy who was found inside a suitcase while crossing the border between Africa and Europe, and the playfilm “Desfazenda – Bury Me Somewhere Else” (2021).
CREDITS
Directed by: Roberta Estrela D’Alva
Playwriting: Lucas Moura
Musical direction: Dani Nega
Cast by: Ailton Barros, Filipe Celestino, Jhonny Salaberg and Marina Esteves
Mother and child voice-over: Grace Passô and Negra Rosa
Director of photography and editing: Gabriela Miranda and Matheus Brant
Director of photography: Matheus Brant
Artistic consultant: Daniel Lima
Sound mixer: Ruben Vals
Training and spoken word design: Roberta Estrela D’Alva
Music production: Dani Nega
Songs “Saci” and “Tocar o Gado”: Dani Nega and Lucas Moura
Costume design: Ailton Barros
Costume development: Leonardo Carvalho
Color-coding: Lucas Silva Campos and Samira França
Camera operator and optical effects: Isadora Brant
Graphic design: Tide Gugliano
Photography: David Costa, Isadora Brant, José de Holanda and Tide Gugliano
Subtitles: Francisco Grasso
Lighting design: Matheus Brant
Lighting technician: Gabriele Souza
Lighting technician and trappings: Giovanna Kelly
Production: Corpo Rastreado – Graci Fiori
Press advisory: Canal Aberto – Márcia Marques, Carol Zeferino and Daniele Valério
Realization: O Bonde
Playwriting freely inspired on the film “Menino 23: Infâncias Perdidas no Brasil”, by Belisário Franca
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GLITCH
Flavia Pinheiro
PARENTAL RATING: 16+
SYNOPSIS
The work of Flavia Pinheiro, from Recife, Brazil, portrays the state of transformation generated by the encounter with multiplicity, with individuals of fluid identity. To achieve this, she takes the idea of glitch, a word used to define short term failures in systems, and investigates how queer, disobedient bodies can hack and disrupt hegemonic power systems. On stage, different performers bring their individualities, in a range of choreographies, but this collectivity causes small flaws and moments of collapse on stage.
BIOGRAPHY
Flavia Pinheiro is a performer, choreographer and visual artist. Her works encompass the body in movement in relation to different devices and investigates the relations of force and power of hegemonic neoliberalism corporeified through intense and ordinary training for the end of the world. She creates images, performance programs, scores, installations, videos and urban interventions as utopia in practice: “Dançar para não morrer!” She has been present in national and international festivals and projects with works such as “Contato Sonoro” and “Como Manter-se Vivo”. In 2021, Flavia will pursue her master’s degree at DAS Choreography, in Amsterdam.
CREDITS
Creation: Flavia Pinheiro
Artistic collaboration: Tom Oliver Jacobson
Performers: Agnė Auželytė, Ciro Goudsmit (Zero), Dora Brkarić, Flavia Pinheiro, Gabriel de Oliveira, Sára Korom (Sashu), YuJing LIU (Hugo)
Musician: Gabriel de Oliveira
Research mentors: Andre Lepecki and Pedro Manoel
Music: Hedra Rockenbach
Images: Neda Ruzheva and Antonia Pushkareva
Editing: Tom Oliver Jacobson
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CROOCKED MAN
Eduardo Fukushima
PARENTAL RATING: ALL AGES
SYNOPSIS
Eduardo Fukushima’s solo was created in 2013 in Venice for the Cenacolo Palladiano hall, the former Benedictine refectory where Paolo Veronese painted the work “Wedding at Cana” in the 16th century. The choreography stands against the magnificence and straight lines of this place. It is a broken, misaligned, and vibrating dance, a constant walking imbalance. The work was later recreated for alternative spaces and recorded at the Oficina Cultural Oswald de Andrade, in São Paulo. The show, which physically has a laterality nature, adopts another point of view in the video, that of frontality.
BIOGRAPHY
Eduardo Fukushima is a dancer, performer, choreographer, director and teacher, graduated in Comunicação das Artes do Corpos at PUC- SP. His major creations include the solos “Entre Contenções” (2008), “Como Superar o Grande Cansaço?” (2009) and “Homem Torto” (2014). He has been collaborating with the artists Beatriz Sano, Júlia Rocha, Isabel R. Monteiro, Hideki Matsuka, Rodolphe Alexis and Miguel Caldas and touring throughout Brazil, South America, Europe and Asia. Fukushima has worked with the Japanese theater company Okazaki Art Theatre by Yudai Kamisato. In 2012 he received the Rolex Mentor & Protégé Arts Initiative Award, having as mentor the choreographer Lin Hwai-min, the founder of Cloud Gate Dance Theatre of Taiwan. In 2020, he embarked on audiovisual research in dance, and among his main creations are the video-performance “Silêncio”, for the Museu da Língua Portuguesa, for which he received the APCA Award for dance creation. In 2021, he directed and edited the videos: “CANTOS”, for the performer August Lui, at the Outros Festival de Artes, and “O QUE MANCHA”, with Beatriz Sano. He is a guiding artist in the Qualificação das Artes program of the Secretariat of Culture and Creative Economy of the State of São Paulo.
CREDITS
Creation, general direction and dance: Eduardo Fukushima
Directed by: Eduardo Fukushima and Pedro Nishi
Music composed by: Tom Monteiro with adaptation by Chico Leibholz
Editing: Pedro Nishi
Photography: Lucas Silva Campos
Lighting for video: Igor Sane
Production: Carolina Goulart
Co-production: Festival Loft 2020 | Fuera del lugar.
Acknowledgments: Beatriz Sano, Hideki Matuka, Júlia Rocha, João Victor Velame, Marcos Moreno and all the team at Oficina Cultural Oswald de Andrade
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IN.VERSE ADRIFT
Les Commediens Tropicales
PARENTAL RATING: ALL AGES
SYNOPSIS
An audiovisual scenic experiment, a mix of documentary and fiction, the work is a development of the show “(see[ ]have) adrift”, by Cia. Les Commediens Tropicales, which consists of interventions in public spaces that dialogue with the silence of the images of a metropolis. In the video, archive records of the performances, made over the ten years of the original work, were added to recordings of new actions, adapted to the context of the pandemic. Using the tools and concepts of post-production in art present in the conception of the original “(see[ ]have)”, the artists of the company, together with Quarteto À Deriva and Bruta Flor Filmes, bring to the fore new images, new questions, and new ways of existing and producing contemporary theater.
BIOGRAPHY
Les Commediens Tropicales was created in 2003, in the Scenic Arts course at Unicamp, in Campinas, and has been established in São Paulo since 2005. The group works in the intersection of languages: theater, dance, music, performance, video art and urban intervention. Currently, it is formed by the artists Carlos Canhameiro, Paula Mirham, Rodrigo Bianchini, Michele Navarro, Daniel Gonzalez and Tetembua Dandara. Throughout the group’s career, they’ve performed several plays: “Galvez Imperador do Acre”; “CHALAÇA a peça”; “A Última Quimera”; “2º D.Pedro 2º”; “O Pato Selvagem”; “Concílio da Destruição”; “GUERRA sem Batalha”; “MAUSER de garagem”; “BAAL.material”; and “MEDUSA concreta”.
CREDITS
Realization: Cia LCT, Quarteto À Deriva and Bruta Flor Filmes
Cast, direction and music: Cia. LCT and À Deriva quartet – Beto Sporleder, Carlos Canhameiro, Daniel Gonzalez, Daniel Muller, Guilherme Marques, Michele Navarro, Paula Mirhan, Rodrigo Bianchini, Rui Barossi and Tetembua Dandara
Audiovisual director and editing: Bruna Lessa
Cinematography: Cacá Bernardes
Sound editing and mixing: Rui Barossi
Drones: Sóllon Rodrigues
Camera assistant: Cauê Gouveia
Sound mixer: Carina Iglecias
Scene technicians: Cauê Gouveia and Matias Arce
Sound technician: Ivan Liberato
Image consulting: Mônica Abed
Props: José Valdir Albuquerque
Production: Cia. LCT and Mariana Pessoa
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MARISE MAUÉS
PARENTAL RATING: ALL AGES
SYNOPSIS
The artist Marise Maués presents four video performances, in which she explores several issues that affect the territory of Pará. In “Nóstos”, recorded on the riverside island of Maracapucu Miri, in the municipality of Abaetetuba, she is confronted with an old Mututi tree that emerges from the stream bed and eternalizes her existence in that tree, sewing clothes and involving its body. The place is also the setting for “Loess”, in which Marise stands on the water, feeling the flow of two tides, a flood tide and an ebb tide. The idea is to instigate the reading of contemporary man as a loess being, subject to multiple identities, formed by layers that overlap in the course of time. “Kali” discusses the ruins of Belém from the carcass of the Camelier mansion. Inside the forgotten building, there is a female figure whose flesh is stripped by time and humidity. The Pará capital city and its deterioration are also the subject of “Destroyed Landscape”, performed in 2018 at the Ver-o-Peso complex. In the performance, the artist drips on her body the polluted water of the river that bathes the city.
BIOGRAPHY
Marise Maués Gomes is a visual artist, born in Abaetetuba, in the state of Pará. She has a degree in Geography from UFPA and a master’s degree in Visual Arts from the same university. Marise is engaged in performance and photography projects that focus on the creation of visual narratives and performative actions in perfect harmony with contemporary art. Her research focuses on themes such as social and political relations in Pará’s Amazonian region, ancestry, environment, memory, heritage and gender issues. She has participated in art exhibitions in Belém, Goiânia, São Paulo, Montevideo (Uruguay) and Marburg (Germany). Marise has also received the VI Contemporary Photography Diary Award.
CREDITS
LOESS
Year: 2015
Creation and performance: Marise Maués
Director of photography and editing: Pedro Rodrigues
Original soundtrack production: Leonardo Pratagy and Ramón Rivera
KALI
Year: 2016
Production: Coletivo CêsBixo
Performance: Marise Maués
Director of photography and editing: Pedro Rodrigues and Bruno Leite
Lighting design: Patrícia Gondim
Costumes: Susanne Dias
Original soundtrack production: Leonardo Pratagy
NÓSTOS
Year: 2014
Conception and performance: Marise Maués
Cinematography and editing: Pedro Rodrigues
Original soundtrack production: Ramón Rivera
DESTROYED LANDSCAPE
Year: 2018
Creation and performance: Marise Maués
Director of photography and editing: Pedro Rodrigues
Original soundtrack production: Leonardo Pratagy
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DANCED SERENADES
Soraya Portela
PARENTAL RATING: ALL AGES
SYNOPSIS
In a world with broken relationships where everybody is getting ill, forgetfulness is stronger than ever. Based on this scenario, the film depicts four ladies from the Brazilian northeast, who articulate and celebrate the encounter between their memories, intimate landscapes and desires. Survivors of a pandemic and transiting between times, common realities, desires and places, they dance as if there is a tomorrow. The work fictionalizes in a humorous way the daily life of Lara Luz, Vera Lu, Tetê Souza, and Raimunda Flor do Campo, who do a dance serenade and create other versions of themselves.
BIOGRAPHY
Soraya Portela is an artist and a teacher. She researches collaborative forms of management, dance creation and learning from childhood and old age. She is the director and curator of the Canteiro projects, a platform for creation and articulation of cultural projects in THE/PI, such as TRISCA – Festival of Art with Children and Dança das Antigas, artistic-pedagogical inventions with old age. She was part of the project Núcleo do Dirceu/Galpão do Dirceu, a platform for research and creation in contemporary art, created by Marcelo Evelin.
CREDITS
Creation and artistic direction: Soraya Portela
Playwriting: Carolina Mendonça
Assistant director: Anita Gallardo
Cinematography and editing: Tássia Araújo
Production & digital narratives: Layane Holanda
Co-creation and performance: Lara Luz, Tetê Souza, Vera Lu and Raimunda Flor do Campo
Camera assistant: Karystom Soares
Sound design: Patota & suingue de umbigada
Styling: Danton Brando
Graphic design: Calleb Henrique
Financial management: Humilde Alves
Finalization: Clandestina Filmes
Realization: Canteiro @canteiroteresina
Supported by: State School of Dance Lenir Argento
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VAPOR
Original Bomber Crew
PARENTAL RATING: ALL AGES
SYNOPSIS
In the alleyways of Teresina and other Brazilian cities, “vapor” (steam) is a slang word that means to disappear. It is about a slum dweller who dies, who evaporates and nobody notices or cares. He is also the one who sells illicit drugs to consumers. He is a lookout who watches over the favela and warns the entire network, by means of fireworks or radio communication. He is among the most vulnerable by police action, and is executed at a young age. In this production, which is divided into five episodes, the artists of the Original Bomber Crew perform in abandoned spaces in the capital of Piauí, showing a forced and continuous state of escape, of refuge, of need for shelter. In this transition between different buildings, the collective speaks of the universal right to housing, of the idea of property, of those who migrate, invade and occupy, in movement-tactics of survival and elaboration of their existence.
BIOGRAPHY
Original Bomber Crew is an organization of practices, research and production of hip-hop culture. Operating since 2005, it is a reference in Piauí regarding street dance classes. The crew has participated in festivals, battles and national and international meetings, and currently occupies the Casa do Hip Hop, in Teresina, along with other local artists. The group carries out shows, performances, battles, urban interventions, festivals and dance workshops in Piauí and other states nearby.
CREDITS
Creation and direction: Allexandre Bomber
Direction and video creation: Maurício Pokemon
Creation and performance: Allexandre Bomber, César Costa, Javé Montuchô, Malcom Jefferson, Maurício Pokemon and Phillip Marinho
Participations: Kasa, Maria Lúcia Oliveira, Nego Bispo, Raimunda Gomes da Silva and Vine Silva
Artistic collaboration and social media: Cleyde Silva
Sound research: César Costa and Javé Montuchô
Soundtrack and editing: Javé Montuchô
Typography: Malcom Jefferson
Graphic design: Malcom Jefferson and Maurício Pokemon
Production design: Regina Veloso
Administrative assistance: Humilde Alves
Realization: Original Bomber Crew and Casa de Produção|CAMPO arte contemporânea
Co-production: Festival Panorama Raft, Bates Dance Festival, CAC Contemporary Arts Center, Centre Chorégraphique National de Caen en Normandie, Charleroi Danse, DanseHallerne, FTA – Festival Transamériques, Gessnerallee, HAU Hebbel am Ufer, In Between Time, PACT Zollverein, Points Communs – Nouvelle scène nationale de Cergy-Pontoise / Val d’Oise, SESC São Paulo, Teatro Municipal do Porto, Trajal Harrel / Tickle the Sleeping Giant Inc., Hyperjetlag Arts, Voo?uit, Walker Art Center
Acknowledgements: Adenilson Santana/Rato, Bruno Moreno, David Allan, Davi Silva, Gui de Areia e nossas crianças ngelo, Benjamin, Bento, Francisco, Mauê, Pedro Bernardo, Ravi and Theo
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IRON MOUTH
Marcela Levi and Lucía Russo
PARENTAL RATING: 16+
SYNOPSIS
Inspired by the soundscape of Belém – “boca de ferro” (iron mouth) is how the city’s loudspeakers were called in the 1950s – the show features a body guided by sound. On stage, the performer Ícaro dos Passos Gaya, from Pará, brings references to technobrega music (technotacky) and has his body translated into sweat, disturbed by odd sounds, detached from the affirmation of identity. It is a raging dance rahapsody emanated by a body that’s full of contradictions. Besides the musicality of Pará, Marcela Levi and Lucía Russo’s choreography also incorporates inspirations such as Dante’s Inferno from “The Divine Comedy,” Mário de Andrade’s “Macunaíma,” the transgender universe, and even Internet memes.
BIOGRAPHY
In 2010, choreographers Marcela Levi (Rio de Janeiro, Brazil) and Lucía Russo (Patagonia, Argentina) founded Improvável Produções (Improbable Productions) in Rio de Janeiro. Levi & Russo are committed to a polyphonic direction in which different inventive positions intertwine in a process that embraces deviant lines, dissent and internal differences as a constructive critical force and not as self-exclusive polarities. Improvável Produções is responsible for the creation and production of the pieces “Natureza Monstruosa”, “Mordedores e Deixa Arder”, and the urban intervention “Sandwalk With Me”, among others.
CREDITS
Artistic direction: Marcela Levi & Lucía Russo
Performance and co-creation: Ícaro dos Passos Gaya
Assistant: Tamires Costa
Lighting designer: Isadora Giuntini and Catalina Fernández
Costume designer: Levi and Russo
Sound design: the whole team
Video: Tristán Pérez-Martín
Artistic Support/Residency: The Choreographic Center of the City of Rio de Janeiro / Municipal Culture Secretariat, Consulate General of Argentina in Rio de Janeiro, Cultural Centre Sítio Canto da Sabiá, Gamboa Dance Festival, Espaço Graner, Sala Hiroshima and Sâlmon Festival
International distribution: Something Great (Germany)
Production and artistic creation: Improvável Produções
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DENMARK
Magiluth
PARENTAL RATING: 18+
SYNOPSIS
A group of friends of the highest nobility rank are gathered around a table. They celebrate the times, the present moment and the “here and now”. Within their circles of happiness restricted by rules, they keep up this kind of life, in which there are no “issues” and what they need most is to maintain their status quo. Inspired by William Shakespeare’s “Hamlet”, the play suggests a fictional reflection on the phenomenon of social bubbles. This is the second part of a trilogy that began with “O Ano em que Sonhamos Perigosamente” (The Year We Dreamed Dangerously) (2015), in which the group investigated a historical moment of emancipatory movements rising around the world. In “Denmark”, the collective turns its gaze to another social grouping, unrelated to the movements of contestation, but also important in the construction of this explosive puzzle.
BIOGRAPHY
Founded in 2004 at UFPE, Magiluth Theater Group develops a continuous research and experimentation work, in constant dialogue with the present. With new headquarters in the heart of Pernambuco’s capital city, it collaboratively performs several actions related to research, creation and artistic formation, in constant dialogue with the territory in which it is inserted. Its background includes plays based on principles of independent theater creation, of continuous production, aiming at the highest aesthetic quality standards. Among them: “Corra” (2007), “1 Torto” (2010), “O Canto de Gregório” (2011), “Aquilo que o meu olhar guardou para você” (2012), “O Ano em que Sonhamos Perigosamente” (2015), “Dinamarca” (2017) and “Apenas o Fim do mundo” (2019). In 2020 and 2021, the group developed three Sensory Experiments in Confinement designed specifically for the moment of social estrangement, “Tudo que Coube numa VHS”, “Todas as Histórias Possíveis” and “Virá”.
CREDITS
Directed by: Pedro Wagner
Playwriting: Giordano Castro
Cast: Bruno Parmera, Erivaldo Oliveira, Giordano Castro, Mário Sergio Cabral and Lucas Torres
Stand in: Rafael Cavalcanti
Sound Design: Miguel Mendes and Tomás Brandão (PACHKA)
Lighting design: Grupo Magiluth
Art direction: Guilherme Luigi
Production: Amanda Dias Leite
Photography: Bruna Valença and Danilo Galvão
Graphic design: Guilherme Luigi
Technician: Lucas Torres
Development: Magiluth Theater Group
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TRANSPOPHAGIC MANIFEST
Renata Carvalho
PARENTAL RATING: 18+
SYNOPSIS
The story of a transvestite body is narrated by actress Renata Carvalho. On stage, she launches a manifest about how those bodies came to life, depicting the social constructions and the criminalization they go through, from imagination to reality. The research, named Transpology, started in 2001, when Renata became an agent of voluntary IST, hepatitis and tuberculosis prevention. For 11 years, she worked specifically with transvestites and trans women involved in the sex work industry in Santos, São Paulo. As a result, in 2012 she brought to the stage the solo “Dentro de Mim Mora Outra” (Someone Else Inhabits Me), in which she told about her life as a transvestite. Since then, she has been compiling stories about the theme and developing the topic on stage.
BIOGRAPHY
Renata Carvalho is an actress, playwright, director and researcher of the trans body in art (transpologist). She founded Coletivo T (the first group to be formed entirely by trans artists in São Paulo) and MONART (National Movement of Trans Artists), which, in 2017, launched the Trans Representation Manifesto. In 2012, she took part in the works ZONA!, Projeto Bispo and Nossa Vida Como Ela É, in addition to productions for television and cinema. She performed in The Gospel According to Jesus, Queen of Heaven (which was widely censored in Brazil) and Domínio Público (a performance that brought together four Brazilian artists to stage, who were target of attacks in 2017). Her show Transpophagic Manifesto, a co-production among Risco Festival, Corpo Rastreado and MITsp, premiered at MITsp in 2019.
CREDITS
Playwriting and acting: Renata Carvalho
Directed by: Luiz Fernando Marques
Lighting designer: Wagner Antônio
Video art: Cecília lucchesi
Lighting adaptation and operation: Juliana Augusta
Production: Rodrigo Fidelis – Corpo Rastreado
Co-production: MITsp and Risco Festival
Distribution: Corpo a fora
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ELEPHANT PROTOCOL
Cena 11 Cia. de Dança
PARENTAL RATING: 18+
SYNOPSIS
The show investigates the action of isolation of the elephant on the verge of its death as metaphor of separation and exile. A questioning about the way in which factors contained in the environment to which we belong (people, behaviors, languages, affections, objects and relational devices of coexistence) are affected when we migrate alone to a diverse and distant context of these familiarities and symmetries of belonging. It is to propose a group sharing the loneliness that defines us. In this investigation, the group questions the meaning of belonging and the definition of identity. The feeling of emptiness is translated into a choreography in which the performers seem to distort their bodies and launch themselves into space in spins, falls, tilts, and twists.
BIOGRAPHY
Grupo Cena 11 develops and shares technical tools based on the relations between body, environment, subject and object as variables of a same living system, which exists in the form of dance. Its projects converge theory and practice in the concept of dance and cross the definitions of body, treating technology as its extension and expansion. A creative group with training in various areas is responsible for an artistic production in which the idea comes to life and organizes itself as movement. In 2014, Cena 11 received the Order of Cultural Merit by the Ministry of Culture and Federal Government; and was awarded by the São Paulo Association of Art Critics (APCA) in 2014, 2012, 2007 and 1997.
CREDITS
Creation, direction and choreography: Alejandro Ahmed
Creation and performance: Aline Blasius, Edú Reis Neto, Hedra Rockenbach, Jussara Belchior, Karin Serafin, Marcos Klann, Mariana Romagnani and Natascha Zacheo
Soundtrack, lighting and performance: Hedra Rockenbach
Creative Assistant: Mariana Romagnani
Costume designer and executive assistant: Karin Serafin
Rehearsal assistant and technical preparation: Malu Rabelo
Guest artists – mirror stage: Wagner Schwartz, Michelle Moura and Eduardo Fukushima
Production: Gabi Gonçalves
Props: Roberto Gorgatti
Location and technical preparation: Jurerê Sports Center
Solilóquio: Alejandro Ahmed, Aline Blasius, Anderson do Carmo, Edú Reis Neto, Hedra Rockenbach, Jussara Belchior, Karin Serafin, Malu Rabelo, Marcos Klann, and Mariana Romagnani
Livro Rumor: Pedro Franz and Grupo Cena 11
Guest Artist Solilóquio/2015 and Residência Vestígio e continuidade 2016: Priscilla Menezes
Graphic design: BALACLAVA Studio
Residência Vestígio e continuidade: Bienal Sesc de Dança 2015. Sesc Consolação 2016
Selected Project Rumos Itaú Cultural
This project was awarded the Prêmio Funarte de Dança Klauss Vianna 2014
The Project received the support of the State of Santa Catarina, Secretaria de Estado de Turismo, Cultura e Esporte, Fundação Catarinense de Cultura, Funcultural and Edital Elisabete Anderele/2014
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(SEE[ ]HAVE) ADRIFT
Les Commediens Tropicales
PARENTAL RATING: ALL AGES
SYNOPSIS
The show comprises a set of scenic interventions designed for both public and outdoor spaces, which engage in a conversation with the silent images exposed in a metropolis, bringing together various artistic manifestations, such as graffiti, video art, performance, theater, dance, music and plastic arts. In the interventions, the artists break into the spaces with sounds, images, dances, and actions based on the works of the British artist Banksy. The production is also inspired by the Oedipal quote “Why should I have eyes when there was nothing sweet for me to see?” Four of the scenes were created by guest artists – Andréia Yonashiro, Coletivo Bruto, Georgette Fadel, and Tica Lemos. Musicians from the jazz quartet À Deriva perform the music live.
BIOGRAPHY
Les Commediens Tropicales was created in 2003, inside the Scenic Arts course at Unicamp, in Campinas, and has been established in São Paulo since 2005. The group focuses on the intersection of languages: theater, dance, music, performance, video art and urban intervention. Currently, it is constituted by the artists Carlos Canhameiro, Paula Mirham, Rodrigo Bianchini, Michele Navarro, Daniel Gonzalez and Tetembua Dandara. Throughout the group’s career, they have performed several plays: “Galvez Imperador do Acre”; “CHALAÇA a peça”; “A Última Quimera”; “2º D.Pedro 2º”; “O Pato Selvagem”; “Concílio da Destruição”; “GUERRA sem Batalha”; “MAUSER de garagem”; “BAAL.material”; and “MEDUSA concreta”.
CREDITS
Staging: Cia. Les Commediens Tropicales, Quarteto à Deriva and guest artists: Andréia Yonashiro, Coletivo Bruto, Georgette Fadel and Tica Lemos.
Cast: Carlos Canhameiro, Daniel Gonzalez, Michele Navarro, Paula Mirhan, Rodrigo Bianchini and Tetembua Dandara
Musicians: À Deriva Quartet (Beto Sporleder, Daniel Muller, Guilherme Marques and Rui Barossi)
Soundtrack: Cia. Les Commediens Tropicales and À Deriva Quartet
Image consultant: Mônica Zaher
Scenography: José Valdir Albuquerque
Production: Cia. Les Commediens Tropicales and Mariana Pessoa
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TRACES
Marta Soares
PARENTAL RATING: ALL AGES
SYNOPSIS
“Traces” focuses on the monumental aspects of sambaquis, prehistoric indigenous sites found on the seashores of Brazil. For the research, the performer visited prehistoric indigenous cemeteries in the Laguna region, in Santa Catarina. By rescuing the pre-colonial ancestral memory, the choreographic installation proposes a reflection on the need to bring out, in the field of arts and life, the forces of creation and resistance that operate through the vibrating body. The show is an attempt to make the invisible sensible, that is, to show the symbolic and sacred aspects of the ‘sambaquis’ that have been lost in time.
BIOGRAPHY
The choreographer and dancer Marta Soares develops works that explore possibilities of intersections between dance, visual arts (video and installation), performance art and music (sound spaces). She has won several APCA dance awards and studied with Maria Duscheness (who introduced the Laban method in Brazil), Kazuo Ohno (one of the creators of Butoh dance), and performer and director Lee Nagrin (member of the group The House, directed by Meredith Monk). Marta Soares holds a Bachelor of Arts degree – State University of New York (1993), a Master’s degree in Communication and Semiotics from the Pontifical Catholic University of São Paulo (2000), and a PhD in Clinical Psychology from the Center for Subjectivity Research at the Pontifical Catholic University of São Paulo (2012). In addition to “O Banho” and “Traces”, her other productions include: “Bondages”; “Deslocamentos”; “Um Corpo que Não Aguenta Mais”; “206”; “O Homem de Jasmim”; “Formless” and “Les Poupées”.
CREDITS
Creation, direction and performance: Marta Soares
Sound designer: Lívio Tragtenberg
Production sound mixer: Fernando Mastrocolla de Almeida
Lighting designer: André Boll
Set designer: Renato Bolelli Rebouças
Set design assistant: Beto Guilguer
Video: Leandro Lima
Video photography: Ding Musa
Stage assistant: Manuel Fabrício
Scenographer: Valdeniro Paes
Production: Cais Produção Cultural
Producers: Beto de Faria and José Renato de Fonseca de Almeida
This work was made with a subsidy from the Rumos Dança Program from Itaú Cultural 2009/2010 and from the VII Programa Municipal de Fomento à Dança from the Culture Secretariat of Sao Paulo City Hall.
BOOK RELEASES
“The Tree” and “By Heart and Other Plays”
INFO
Written by Silvia Gomez, the play “The Tree” is included in Plataforma Brasil’s program and will have a published edition. The book will be released by Cobogó publishing house. To promote the launching, the author will join playwright Marici Salomão and critic Rodrigo Nascimento in a live chat on December 2nd, at 7pm. Another release, “By Heart and Other Plays” (34 publishing house), by Tiago Rodrigues, will be promoted through a talk by the Portuguese actor, director and playwright, who will comment on his writings and artistic processes. He will chat with actress Martha Nowill and Leonardo Gandolfi, who wrote the afterword of the book. The video will be available as of December 1st.
Activity in Portuguese, without translation.
