Sinopsys

Of Flesh and Concrete — A Choreographic Installation is an invitation to become fully immersed and to actively participate in an experience that proposes a reflection on the urban human condition from the body perspective. The piece begins with audience entering the performance space, wearing paper bag masks. Then, a game takes place, in which fiction and reality overlap and the choreographic work is unveiled. Space and audience are both constituent parts of this show, which places human body and behavior at the center of dramaturgical questions.

On the edges between performance, urban intervention, visual arts, contemporary dance and social experiments, the production of Anti Status Quo Dance Company raises questions about how to live in society in large cities, and the logic of the current economic system.

History

The Anti Status Quo Dance Company is one of the most active and renowned independent contemporary dance companies from the Brazilian Midwest. It was founded in 1988, in Brasília, by the choreographer Luciana Lara, who directs the company along with the producer Marconi Valadares. The company stands out for its experimental creations, studies on movement and dance language, critical and political dramaturgies, as well as for its dialogue with visual arts and philosophy. Their latest productions investigate the relationship between body and city; social behavior; art as an experience; relational art and spectator participation. Diverse formats are used by the Anti Status Quo Dance Company in its productions, such as installations, urban interventions, exhibitions and site-specific actions.

During its 29 working years, the Anti Status Quo Dance Company has created ten choreographic pieces: De Carne e Concreto — Uma Instalação Coreográfica (2014); Autorretrato Dinâmico (2009); Cidade em Plano (2006); Aletheia (2003); Coisas de Cartum (2002); Dalí (2000); Nada Pessoal (1998); No Instante (1996); Anti Status Quo Dança (1994) and Efeitos (1991).

Credits

Artistic Direction, Dramaturgy and Conception: Luciana Lara
Research: Luciana Lara, in collaboration with dancers and guest artists
Cast: Camilla Nyarady, Cristhian Cantarino, Déborah Alessandra, João Lima, Luciana Matias, Marcia Regina, Raoni Carricondo and Roberto Dagô
Dancers / Collaborators in the Creative Process: Camilla Nyarady, Carolina Carret, Cristhian Cantarino, João Lima, Luara Learth, Raoni Carricondo, Robson Castro and Vinícius Santana
Guests Artists / Collaborators in the Creative Process: Marcelo Evelin, Gustavo Ciríaco and Denise Stutz
Costumes and Masks: Luciana Lara and cast
Lighting Consultant: James Fensterseifer and Marcelo Augusto
Production: Marconi Valadares
Photos: Mila Petrillo

Sinopsys

DNA of DAN is a Maikon K´s dance installation inspired by the serpent archetype. The performance takes place inside an inflatable and transparent ambiance, created by Fernando Rosenbaum. First, a substance is applied on Maikon´s body, and he stays immobile while it gradually dries. After this phase of the performance, he starts to move. The audience can then go inside the inflatable structure and remain there. The development of another skin over time, the artificial environment and the relationship with the audience: these are the main resources that contribute to the power of this performance, in which the performer’s body undergoes a continuous transformation.

History

Maikon K acts on the edges between performance, dance and theater. The subjects of his work are the body and its ability to modify perceptions. Influenced by the shamanic worldview, the artist weaves realities through songs, non-verbal sounds, visual signs and ritualized actions. Some of his creations are Ancestral Body, Terrarium and The Solar Anus.

DNA of DAN premiered in Curitiba (PR), on the lawn of the Museu Oscar Niemeyer (MON). Throughout the last three years, the show has been presented in several contexts. In 2015, invited by the Serbian Artist Marina Abramovic, it was part of the exhibition Terra Comunal, at Sesc Pompéia (SP), and, in 2017, it went on tour around Brazil, as part of Sesc’s project Palco Giratório.

Credits

Conception and Performance: Maikon K
Set Design: Fernando Rosenbaum
Conception of the performer´s skin: Faetusa Tezelli
Light design: Victor Sabbag
Movement direction: Kysy Fischer
Supported by Prêmio Funarte de Dança Klauss Vianna

“Intimate and majestic ritual: we see, hear, smell and touch the creature who’s falling apart till it becomes another. We become the new skin, which must also be abandoned eventually. Who has never experienced the feeling of not fitting anymore inside oneself?”
ANDERSON DO CARMO – ARTIST AND DANCE RESEARCHER – Jornal Noticias do dia- Florianópolis – 08/12/2017

Sinopsys

Time is suspended between one moment and another. During the stretching of this time-lapse, the body becomes weary, it empties out, dissolves its outlines and limits. The silence, the vanishing and the inactivity settle in, although not passively, indeed, as a movement of resistance. A zone of uncertainties, breakdowns and vacuous — beyond time, beyond debuts, beyond end.

History

Vera Sala, artist and researcher in dance since 1987, also teaches Communication of Body Arts, at PUC-SP. Three times winner of the APCA, for lifetime achievement (2014); dance performance (2005); performing/creation (1999); also won the Mambembe Prize for performing/research (1998). She was nominated to the Governador do Estado Award (2014) — in the lifetime achievement and best show categories with Estudo para Lugar Nenhum —, and twice for the Bravo! Prize, for best show — Impermanências (2006) and Pequenas Mortes (2007).

Credits

Conception and Direction: Vera Sala
Architecture and Lighting: Hideki Matsuka
Sound Design: Tom Monteiro
Body Movement Consciousness: José Antonio Lima
Thanks for Artistic Collaboration: Luiz Paetow
Graphic Design: Érico Peretta
Lightning Technician: Igor Sane
Scene Technician: Wanderley Wagner da Silva
Production Direction: Dora Leão — PLATÔ produções
Collaboration and Exchanges: Diego Alves Marques, Rubia Braga
Thanks to Casa das Caldeiras

“To the extent that the body insists on exhausting itself with gestures, in running slowly, in being in an amorphous state, without appearing liquid or solid, this insistence finally reveals the power of impotence, it shatters our perception as a discreet but violent stroke, from which one can’t defend oneself. It is an entropic crisis that invades life and transforms it into finite matter. “
Thiago Alixandre – Dancer

Sinopsys

A group of friends, who belong to the upper nobility, is gathered around the table, celebrating the present time and being here and now. They, in an orderly bliss, hold on to their lifestyle, devoid of big issues, the biggest one being the need to maintain the status quo. Inspired by Shakespeare´s Hamlet, one of the most widely recognized texts of Western dramaturgy, Denmark proposes, through fiction, a reflection on the phenomenon of social bubbles.

History 

In constant interaction with contemporary issues, Magiluth´s productions aim to create a portrait of our times. Denmark is the second part of a trilogy that began with O ano em que sonhamos perigosamente — a play about individuals that faced a historic moment, the upsurge of emancipatory movements around the world. Presently, in Denmark, the focus is on another social contour, the development of narrow social bubbles in Brazil. The show’s creative process, which started in October 2016, had the artistic collaboration of Giovana Soar and Nadja Naira — Companhia Brasileira de Teatro´s members — and the Pachka musical duo. Denmark premiered in August (2017), in Recife (PE).

Credits

Directed by: Pedro Wagner
Playwright: Giordano Castro
Cast: Bruno Parmera, Erivaldo Oliveira, Giordano Castro, Mário Sergio Cabral, Lucas Torres
Sound Design: Miguel Mendes and Tomás Brandão (Pachka)
Light Design: Magiluth Group
Art Direction: Guilherme Luigi
Photos: Bruna Valença and Danilo Galvão
Graphic Design: Guilherme Luigi
Technician: Lucas Torres
Production: Magiluth Group

“That is the wound on which the “Magiluthians” are putting their finger, or rather, entering with everything. And they use the metaphor of the almost perfect country, Denmark, to expose our most cherished desires: to be what we really are not. “
Leidson Ferraz – Researcher – www.satisfeitayolanda.com.br

Sinopsys

Inspired by Rhinoceros, by Eugene Ionesco (1909-1994), Chant for Rhinos and Men, by Teatro do Osso, proposes a reflection on themes such as hate crimes, racism, worship of beauty, overwork, deteriorating educational standards, absence of dreams and the extinction of humankind. Written in 1959, Ionesco’s play portrays a city in which almost all its inhabitants are affected by a rare disease, that turns them into rhinoceroses. Bérenger, a simpleton man, not suffering from this illness, becomes the only human being on earth.

Chant for Rhinos and Men places the actors in an arena, where they sing the storyline, accompanied by piano and percussion. During the intermissions, videos and testimonies are shown, inviting the audience to reflect on the reasons why, in great metropoles, we act like irrational and violent animals — like authentic urban rhinos.

History

Could we, human beings, have the desire to become rhinoceroses? It was from this and others questions that Teatro do Osso´s actors, under Rogério Tarifa’s direction, started the creative process of Chant for Rhinos and Men. The show has been presented since the end of 2015 at traditional cultural centers — Galpão de Folias, Itaú Cultural, Sesc Santos, among others —, and, supported by Zé Renato award, it was also presented in São Paulo’s outskirts.

The show was rehearsed for nine months and seals the partnership between the Shell Award winners Rogério Tarifa, William Guedes and Jonathan Silva, members of the Cia do Tijol. Chant for Rhinos and Men was considered one of the best five shows in São Paulo by Guia da Folha, and won the Aplauso Brasil for best group show.

Credits

Directed by: Rogério Tarifa
Teatro do Osso: Guilherme Carrasco, Isadora Títto, Luísa Valente, João Victor Toledo Murillo Basso, Renan Ferreira, Rubens Alexandre and Viviane Almeida
Dramaturgy: Jonathan Silva, Rogério Cast and Rogéria Tarifa
Musical Direction and Vocal Preparation: William Guedes
Musicians: Bruno Pfefferkorn and Filipe Astolfi
Music (Unpublished Songs): Jonathan Silva
Set design: Rogério Tarifa
Set Architect: Zito Rodríguez
Costume Designer: Silvana Carvalho, Rogério Cast and Crew
Collaboration: Artur Abe
Body Consciousness and Direction of Movement: Érika Moura
Light design: Rafael Souza Lopes
Light technician: Nara Zocher
Video: Flávio Barollo
Supervision of Animated Theater: Luiz André Cherubini
Photos: Cacá Bernardes

“The cast is the greatest force of Chant for Rhinos and Men. Crossing multiple languages, the performers show the strength of Ionesco’s narrative and its ramifications. Within the context of metamorphosis and animal intrusion, an ocean of themes emerges — metropolises, work, violence and exploitation (…)”.
Leandro Nunes – O Estado de São Paulo – Caderno 2 – 07/28/2016

“This musical assembly is a kind of popular opera that emphasizes the word utterance. And everything happens in an arena. In the circular structure, the public becomes part of the dilemmas and of the critical and collective examination on the subject. It is a forward attitude of great political implication.”
(Paulo Bio Toledo – Folha de São Paulo – Ilustrada – 12/16/2017)

7

Sinopsys

Based on the novel by Carneiro Vilela (1846-1913), Brazilian writer from the state of Pernambuco, The Immured Lady from New Street is a solo dance performed and choreographed by Eliana de Santana. The book tells the story of a young woman who is immured, alive, in her own room, at the behest of her father, who intents to preserve her honor and cover up family shame. The book’s atmosphere of mystery inspires Eliana de Santana. There is a body and a wall, a walled body. The audience receives a glass of water when entering the space and is invited to “drink the dead”. The immured character dances. A song talks about love. Silence. The character still dances. Another voice sings about love. The candles go off and it is the end.

Although the novel intensely portrays the late nineteenth-century tradition, it was the macabre outcome, and the gossip about an immured woman, that lead to the creation of an urban legend — the revenant of the immured woman still walks around the city of Recife. Even today, people talk about the presence of the dead woman, and strange noises and groans are heard close to Nova Street. These stories, told from generation to generation, inspired this solo, which deals with violence, memories, wraiths, specters and ghosts. A body and stage research about the feminine condition and the themes of death, love and the supernatural.

History

Eliana de Santana, performing arts artist and dance interpreter, started her performing career in 1984. In 1996, she premiered Tragédia Brasileira, Santana’s first authorial production, supported by Bolsa Rede Stagium. Subsequently, she created the solo Das Faces do Corpo, which was supported by Bolsa Vitae de Artes. In 2006, her play Francisca da Silva de Oliveira Chica da Silva Um Esboço, won the Funarte de Dança Klauss Vianna award. In 2008, … e das outras doçuras de Deus, inspired by Clarice Lispector’s chronicles, won the APCA award. In the following years, she created Onde os Começos? (2010), Dos Prazeres e Afro Margin (2012), Baleia, A Emparedada da Rua Nova (2014) and Blue (2015). Currently, she works on the creation of the show Música para Ver.

Credits

Performer and Director: Eliana de Santana
Invited performer, Lighting Design and Scenic Space: Hernandes de Oliveira
Soundtrack and Costumes: Eliana de Santana and Hernandes de Oliveira
Lightning and Sound Technician: Rodrigo Eloi Leão
Production: E² Cia de Teatro e Dança
Photos: Rodrigo Eloi Leão

“By achieving and suggesting countless procedures that diverge from usual practice, the performer holds a powerful homage to the tradition (…) of Butoh. In a second moment, everything is in her face and in the space that surrounds her skull. It is possible to say that this sorceress has an astonishing pact with the atmosphere of the room”.
(Marcio Tito, Revista Antro Positivo – Critic)

Sinopsys

It was almost 3:30 pm, on November 5, 2015, a hot day as usual in the Doce River Valley, when, in Mariana (MG), the Fundão’s tailings dam failed, and about 55 billion liters of thick mud sluiced down onto the districts of Bento Rodrigues and Paracatu de Baixo. Hotel Mariana brings to stage disturbing and breathtaking testimonies that highlight the humbleness of those who lost everything, or almost everything, during the biggest environmental disaster in Brazil.

History

Hotel Mariana was created based on the reports, collected a week after the disaster, of Mariana’s tragedy survivors. Directed by Herbert Bianchi, also responsible for the dramaturgy, in collaboration with Munir Pedrosa, who masterminded the project, Hotel Mariana explores the verbatim technique — the performers on the stage use headphones and instantaneously reproduce the real reports they are listening to. Supported by PROAC, the play premiered in May 2017 at Os Satyros (SP) and, in January 2018, it ran at Sesc Vila Mariana (SP). The show was nominated to the Shell Award (2017) for best dramaturgy.

Credits

Original idea and research: Munir Pedrosa Direction: Herbert Bianchi
Cast: Angela Barros, Bruno Feldman, Clarissa Drebtchinsky, Fani Feldman, Isabel Setti, Letícia Rocha, Marcelo Zorzeto, Munir Pedrosa, Rita Batata, Rodrigo Caetano
Dramaturgy: Munir Pedrosa and Herbert Bianchi
Assistant Director: Letícia Rocha
Lighting Designer: Rodrigo Caetano
Set Design: Marcelo Maffei and Herbert Bianchi
Scenic Designer: Marcelo Maffei
Costumes: Bia Piaretti and Carol Reissman
Direction of Production: Munir Pedrosa
Produced by MUN Cultural

When life overlaps fiction, nothing can be more coherent than bringing realist pungency to the foreground, in what is also called the” Real Theater “…
João Luiz Vieira – Journalist and playwright – Bravo Magazine! – 07/19/2017

Sinopsys

Dazed Flesh is the first solo written and performed by the actress, director and dramaturge Grace Passô. In this play she creates a playground for spoken word and movement, in which a woman’s body feels the urgency of speech, looking for its identity and its sense of belonging. A wandering voice overruns such a body and narrates what she feels as a woman, as a being, what she pretends to feel, what is unsearchable in her. The voice tries to understand what does her body mean to others who see it.

History

Dazed Flesh was the inaugural production of Grãos da Imagem, a project that gathers productions concerning identity themes. It premiered in 2016, at the Festival of Curitiba, and ran at Sesc Copacabana (RJ) in July and August 2016. In 2017, it was presented at Sesc Pompeia (SP), Caixa Cultural (SP), Sesc Palladium (MG) and Caixa Cultural (BA). It was also part of the program of the festivals Olonadé (RJ); Trema! (PE); Melanina Acentuada (BA); Porto Alegre in Cena (RS);  Festival Nacional de Teatro de Vitória (ES); Cena Contemporânea (DF); and was also presented in João Pessoa (PB) and São José do Rio Preto (SP).

In 2016, it won the prizes: Cesgranrio and Shell RJ, for best text; Questão de Crítica, for best show; Leda Maria Martins, for best actress and text; And it was nominated for the Cesgranrio prize in the categories: best actress (Grace Passô), best show and best illumination (Nadja Naira); It was also nominated for the APTR 2016; Bravo! and APCA awards, for best show

Credits

Conception, Performance and Dramaturgy: Grace Passô
Creation Team: Kenia Dias, Nadja Naira, Nina Bittencourt e Ricardo Alves Jr. Lighting Design: Nadja Naira
Lighting Technician: Edimar Pinto
Soundtrack / Sound Technician: Ricardo Garcia
Costumes: Virgílio Andrade
Photos: Lucas Ávila
Research and Production: Nina Bittencourt

“The voice-woman-body vocalizes each utterance in a particular timbre, what makes the audience laugh and (…) it communicates the disruption of gender categories, just as it does during several other moments related to inherent political and social aspects of globalized societies. There is a slight irony in each vocal register — no doubt, a theatrical practice, but also a performative act to highlight reflections that, through its sharpening textual poetry, aims to lead each body-voice in the audience to a diverse place of speech and liveliness”.
(Marcos Alexandre, Horizonte da Cena – Critic)

Sinopsys

We Are Someone Else Being Not Injured frames the concerns of the middle class on the borders of an important election. First time brought to Brazil, the text of Toshiki Okada shows a couple who is about to move to a recently built skyscraper apartment. A husband, a wife, a female friend, an unknown man and another one who is wounded. Characters that bring up questions such as the imperative of happiness, the fear of the unknown, the precariousness of social relations and the anxiety about the future. The story is quite simple, but more important than the plot is the way that it is crossed by thoughts and doubts about the models of life usually imposed to us. The actions, in the play directed by Carolina Mendonça, are more described than realized. The show proposes an experience of immersion in an environment in which the public and the artists are close together, questioning who are we and who are the others.

History

The creative team of We Are Someone Else Being Not Injured come from an old partnership. Sound designer Miguel Caldas has been in collaboration with Carolina Mendonça since 2011, and visual artist Theo Craveiro has also participated in the director’s previous work Tragédia, uma tragédia (2004). The actors Rodrigo Andreolli and Rodrigo Bolzan (winner of the 2012 Shell Award), have been collaborating with Cia. Brasileira (Brazilian Company) for some years. Fernanda Raquel, researcher of Japanese performing arts since 2006, and Lúcia Bronstein, who has already done outstanding work in film and television are now joining them on this show.

Credits

Playwright: Toshiki Okada
Translation: Rita Kohl
Directed by: Carolina Mendonça
Cast: Fernanda Raquel, Lúcia Bronstein, Rodrigo Andreolli and Rodrigo Bolzan
Set design: Theo Craveiro
Sound Design: Miguel Caldas
Light Design: Alessandra Domingues
Costume Design: Ozenir Ancelmo
Producer: Fernanda Raquel
Photos: Mayra Azzy

“The difficulty of reaching the other, translates into an informal, interrupted and repetitive speech, permeated by silences, and by actors who barely interact. The text and body language research is remarkable in the work of Okada and it is also present in the first assembly of one of his works in Brazil “.
Mariana Delfini – Folha de São Paulo – Ilustrada – 08/25/2017

“It sounds at least ironic, and certainly alienated, the constant claim of happiness in such an inhospitable existence. The assembly successfully materializes this deadlock through the strangeness that it creates”.
Mariana Delfini – Folha de São Paulo – Ilustrada- 08/25/2017

Sinopsys

The show tells the story of Eulálio D’Assumpção, who at the age of 100, is left lying on a stretcher in a public hospital hallway. He is the heir to a family that arrived in Brazil with the Portuguese court, therefore he has aristocratic ancestors, a slave-owner grandfather, a corrupt senator father, a guerrilla fighter grandson and a drug dealer great-grandson. Big spender, alienated and contradictory, he is now completely bankrupt and faces the tragic catastrophe of the health care system, built by an elite of rentiers to which his family belonged.

The work is an aesthetic elaboration on the unique experience of the time in Brazil, sitting where everything is transformed only to repeat itself in its filthy self-eating structure. Raving in his last moments of his life, the protagonist undergoes crucial events of the Brazilian history, in a pandemonium with no boundaries separating the inner and outer world, past and present, memory and imagination, religion and power, individual and society, politics and mythology.

History

Spilt Milk had successful seasons at Sesc Consolação (São Paulo) and at the Sesc Ginástico Theater (Rio de Janeiro), taking part in the Mirada Extension, of the MIRADA – Ibero-American Festival of Performing Arts 4th edition, an overview of the contemporary production and their creators. The show was also featured in important national theater festivals, including Curitiba, Porto Alegre, Recife, among others. Elected by the Folha de São Paulo and O Globo newspapers as the best show of 2016, it was nominated three times to the Shell Award – for best actress (Juliana Galdino), direction (Roberto Alvim) and lighting (Domingos Quintilano) – and one time to the APCA award, in the best actress category (Juliana Galdino).

Credits

Original text: Chico Buarque
Adaptation, Direction and Set Design: Roberto Alvim
Cast: Juliana Galdino, Filipe Ribeiro, Taynã Marquezone, Caio D’Aguilar, Lenon Sebastian, Luis Fernando Pasquarelli, Nathalia Manocchio and Luiz Otavio Vizzon
Original Soundtrack: Vladimir Safatle
Light: Domingos Quintiliano
Costume Design: João Pimenta
Sound Design: LP Daniel
Set Architect and Props: Fernando Brettas
Visual Programming: Vicka Suarez
Photos and Videos: Edson Kumasaka
Internal critic: Welington Andrade
Assistant Director: Steffi Braucks
Sound and Mic Technician: Dug Monteiro
Light technician: Luiz Fernando Vaz Junior
Stage Director: Alex Peixoto
Executive Producer: Dani Angelotti
Producer: Cubo Produções and Cia. Club Noir

“Director Roberto Alvim, at the top of creative maturity, dared to play with undisputed icons – and offers a powerful spectacle to the audience.”
Dirceu Alves – Veja Magazine

“Alvim strips away the nostalgic content from the book as a dissection to leave only the bones: the generational chain of power that establishes the history of the country.
Luciana Romagnolli – Ilustríssima – Folha de São Paulo