{"id":13338,"date":"2026-02-17T07:17:01","date_gmt":"2026-02-17T10:17:01","guid":{"rendered":"https:\/\/mitsp.org\/2026\/thought-in-process\/"},"modified":"2026-03-01T19:05:42","modified_gmt":"2026-03-01T22:05:42","slug":"thought-in-process","status":"publish","type":"post","link":"https:\/\/mitsp.org\/en\/2026\/thought-in-process\/","title":{"rendered":"Thought-in-Process"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\"Pensamento-em-Processo\"\t\t\t\t\t\t\t\t\t\t\t
<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Critical Perspectives<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Thought-in-Process<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Thought-in-Process<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Guests from different fields gather after the performances to engage in dialogue with the audience and the artists about the shows.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
    \n\t\t\t\t\t\t\t
  • \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\tMarch 7, Saturday<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t

    After the performance of <\/span>History of Violence<\/i><\/b>, 9pm | Teatro Liberdade<\/span><\/p>\n

    WITH <\/b>Thomas Ostermeier and Helena Vieira<\/span><\/p>\n

    Thomas Ostermeier<\/b> has been a resident director and a member of the artistic leadership of the Schaub\u00fchne since 1999. He graduated in directing from the Hochschule f\u00fcr Schauspielkunst \u201cErnst Busch\u201d and was artistic director of the Baracke at the Deutsches Theater in Berlin. He has directed productions at the M\u00fcnchner Kammerspiele, the Edinburgh Festival, the Burgtheater in Vienna, and the Com\u00e9die-Fran\u00e7aise in Paris. In 2004, he became an associate artist of the Festival d\u2019Avignon, where he regularly presents his work. He received the Golden Lion of the Venice Biennale for lifetime achievement (2011), as well as several honors, including the Order of Merit of the Federal Republic of Germany and the Kythera Prize for Culture (both in 2018).<\/span><\/p>\n

    Helena Vieira <\/b>is a writer, playwright, and researcher. In theater, she investigates narrative forms that re-signify history and the lived experience of dissident bodies, as in <\/span>Jango Jezebel: Where Were the Travestis During the Dictatorship?<\/span><\/i> She has published essays in collections such as <\/span>Explos\u00e3o Feminista<\/span><\/i> (ed. Helo\u00edsa Buarque de Hollanda) and <\/span>Hist\u00f3ria do Movimento LGBT no Brasil<\/span><\/i> (ed. James N. Green, Renan Quinalha, Marcio Caetano, and Marisa Fernandes). Her work moves between philosophy, gender studies, and cultural criticism, contributing to outlets such as Cult, Harper\u2019s Bazaar, Galileu, and Folha de S.Paulo.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

    \n\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\"PP-Hist\u00f3ria\t\t\t\t\t\t\t\t\t\t\t
    <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t
      \n\t\t\t\t\t\t\t
    • \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\tMarch 8, Sunday<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
      \n\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t

      After the performance of <\/span>The Letter<\/i><\/b>, 6pm | Teatro do SESI-SP<\/span><\/p>\n

      WITH <\/b>Arne de Tremerie, Olga Mouak and Juliana Pardo<\/span><\/p>\n

      Arne De Tremerie <\/b>is a versatile Belgian actor and musician who graduated from KASK Drama in 2020. He is a frequent collaborator with director Milo Rau and NTGent, currently gaining international acclaim for his solo performance in <\/span>The Interrogation<\/span><\/i>. His diverse background includes significant work with the Camping Sunset collective as well as roles in various feature films and television series. Beyond his acting career, he remains active in the music scene and is set to release a new album with his band, Outer, in late 2026.<\/span><\/p>\n

      Olga Mouak <\/b>graduated from ENSAD Montpellier in 2016. She has worked on several international productions with directors such as Bob Wilson, Eva Doumbia, and Milo Rau. Mouak also works in cinema with directors such as Anthony Marciano, Emmanuelle Bercot, and Lucien Jean Baptiste. She is currently actively working on creating her solo show.<\/span><\/p>\n

      Juliana Pardo <\/b>is an actress, director, and pedagogue whose practice is art-feminist, working with body and performance technologies and bringing theatre and dance into dialogue with popular performance knowledge. Her work investigates the body, memory, transnationalities, and the transmission of knowledge alongside traditional communities. She is part of the team of masters at ISTA \u2013 International School of Theatre Anthropology. She is the founder of Cia Mundu Rod\u00e1 and Grupo Manjarra, and the author of the books <\/span>Mestre In\u00e1cio Lucindo<\/span><\/i> and <\/span>Cavalo Marinho – Do Fundo da Roda ao P\u00e9 do Banco<\/span><\/i>.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

      \n\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t\t\"PP-\t\t\t\t\t\t\t\t\t\t\t
      <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
      \n\t\t\t\t
      \n\t\t\t\t\t\t\t
      \n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
      \n\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t

      After the performance of <\/span>Philoctetes in Lemnos<\/i><\/b>, 5pm | TUSP<\/span><\/p>\n

      WITH <\/b>Marina Tranjan, Vinicius Torres Machado and Tatiana Schunck<\/span><\/p>\n

      Marina Tranjan <\/b>is an actress, playwright, and director, with a degree from ECA\/USP. She wrote the dramaturgy for <\/span>O Ru\u00eddo Branco da Palavra Noite<\/span><\/i> (Companhia Auto-Retrato), <\/span>Sobre Concreto Sonho<\/span><\/i> (Forte Casa Teatro), <\/span>Aporia 23\u00b0S 46\u00b0W<\/span><\/i> (directed by Vin\u00edcius Torres Machado for Forma\u00e7\u00e3o 16 at Escola Livre de Teatro de Santo Andr\u00e9), <\/span>Anecdoche<\/span><\/i> and <\/span>Cantos de um Naufr\u00e1gio Esquecido <\/span><\/i>\u2014the latter two for Projeto Espet\u00e1culo at F\u00e1brica de Cultura Jardim S\u00e3o Lu\u00eds. She also wrote the plays <\/span>Todos os Meus<\/span><\/i>, winner of the playwriting competition held by the group Folias, and <\/span>Fuga a Quatro Vozes<\/span><\/i> (currently in production). Furthermore, she was part of Companhia Auto-Retrato from 2002 to 2012, working as actress, director, and playwright on <\/span>O Ru\u00eddo Branco da Palavra Noite<\/span><\/i>; directing <\/span>Seis da Tarde<\/span><\/i>; and acting in <\/span>Retornarse<\/span><\/i>, <\/span>Aus\u00eancia<\/span><\/i>, and <\/span>Origem Destino<\/span><\/i>. In 2025, she directed <\/span>Philoctetes in Lemnos<\/span><\/i>, conceived by Vinicius Torres Machado. Tranjan was also part of the Narrativas de Passagem nucleus at Escola Livre de Teatro de Santo Andr\u00e9, mentored by Lu\u00eds Alberto de Abreu.<\/span><\/p>\n

      Vinicius Torres Machado <\/b>is a director, performer, and playwright. A professor at the Institute of Arts of S\u00e3o Paulo State University (Unesp), he holds a degree in acting and a master\u2019s and PhD in performing arts from ECA\/USP. His main research areas include theater theory and aesthetics. He has published the books <\/span>The Mask in Modern Theater: From the Inside Out of Tradition to Contemporaneity<\/span><\/i>; <\/span>The Scene in Becoming: An Instant in Which Something Ceases to Exist<\/span><\/i>; and <\/span>In Time: An Introduction to Performativity in Ancient Greece<\/span><\/i>, co-authored with Jo\u00e3o Pedro Ribeiro. Among his notable works are <\/span>A Porta<\/span><\/i>, <\/span>Aporia 23\u00b0S 46\u00b0W<\/span><\/i>, <\/span>Com os Bolsos Cheios de P\u00e3o<\/span><\/i>, <\/span>Revoltar<\/span><\/i>, and <\/span>Philoctetes in Lemnos<\/span><\/i>.<\/span><\/p>\n

      Tatiana Schunck <\/b>is an artist, writer, and researcher in the performing arts. A postdoctoral researcher at LUME\/Unicamp with a FAPESP fellowship, she holds a PhD in performing arts from Unicamp, an MA in arts from Unesp, and a BA in performing arts from USP. She leads laboratories focused on research-creation, writing, and performative practices in Brazil and abroad, develops artistic actions such as <\/span>Performance de uma Pessoa Escrita<\/span><\/i> and <\/span>Corpo Geo Grafia<\/span><\/i>, and is the author of the books <\/span>Performance de uma Pessoa Escrita<\/span><\/i> (Telha) and <\/span>O Mundo do Lado de Casa<\/span><\/i> (Patu\u00e1).<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

      \n\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t\t\"PP-\t\t\t\t\t\t\t\t\t\t\t
      <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
      \n\t\t\t\t
      \n\t\t\t\t\t\t\t
        \n\t\t\t\t\t\t\t
      • \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\tMarch 11, Wednesday<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
        \n\t\t\t\t
        \n\t\t\t\t\t\t\t\t\t

        After the performance of <\/span>galhada (branching out): in times of fissure<\/i><\/b>, 7pm | Ita\u00fa Cultural<\/span><\/p>\n

        WITH <\/b>Alice Stef\u00e2nia and Cecilia Salles<\/span><\/p>\n

        Alice Stef\u00e2nia<\/b> is an artist-educator and full professor in the department of performing arts and the graduate program in performing arts at Universidade de Bras\u00edlia. Since 2010, she has coordinated the research group Po\u00e9ticas do Corpo and has been an artist-researcher with the collective Teatro do Instante. She earned a PhD in performing arts from UFBA (2007) and an MA in arts from UnB (2000). As part of a postdoctoral project at USP in 2025, she created the performance <\/span>galhada (branching out): in times of fissure<\/span><\/i>. She has been an actress-creator for around 35 years and, over that time, has given birth to many scenes, performances, and productions\u2014as well as to a musician and a photographer, now 28 and 24 years old, respectively.<\/span><\/p>\n

        Cec\u00edlia Almeida Salles <\/b>holds a PhD in applied linguistics and language studies from PUC\/SP and completed a postdoctoral fellowship in the department of cinema, radio and television at Escola de Comunica\u00e7\u00f5es e Artes (USP). She is a full professor in the graduate programs in communication and semiotics and in literature and literary criticism at PUC\/SP. She also teaches in the MA in Processo de Cria\u00e7\u00e3o at Universidade do Algarve, in Portugal. Salles coordinates the research group in creation processes and is the author of the books <\/span>Gesto Inacabado: Processo de Cria\u00e7\u00e3o Art\u00edstica<\/span><\/i>, <\/span>Redes da Cria\u00e7\u00e3o: Constru\u00e7\u00e3o da Obra de Arte<\/span><\/i>, <\/span>Arquivos de Cria\u00e7\u00e3o: Arte e Curadoria<\/span><\/i>, and <\/span>Processos de Cria\u00e7\u00e3o em Grupo: Di\u00e1logos<\/span><\/i>.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

        \n\t\t\t\t
        \n\t\t\t\t\t\t\t\t\t\t\t\t
        \n\t\t\t\t\t\t\t\t\t\t\"PP-galhada,\t\t\t\t\t\t\t\t\t\t\t
        <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
        \n\t\t\t\t
        \n\t\t\t\t\t\t\t
          \n\t\t\t\t\t\t\t
        • \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\tMarch 14, Saturday<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
          \n\t\t\t\t
          \n\t\t\t\t\t\t\t\t\t

          After the performance of <\/span>Surveilled and Punished<\/i><\/b>, 8pm | Teatro do SESI-SP<\/span><\/p>\n

          WITH <\/b>Safia Nolin, Philippe Cyr and Camila Rocha<\/span><\/p>\n

          Safia Nolin <\/b>is a Canadian singer-songwriter who understands herself as a political being in her own right, through the battles she fights, the themes she addresses, and her appearance. Seen as \u201cdeformed\u201d due to her condition as a racialized woman and openly lesbian artist who does not conform to so-called feminine standards imposed for centuries, she chooses to embrace this dissonant image rather than react against what she is not. She has released albums such as <\/span>Limoilou<\/span><\/i>, <\/span>Reprises vol. 1<\/span><\/i>, <\/span>Reprises vol. <\/span><\/i>2, <\/span>Dans le Noir<\/span><\/i>, and <\/span>SEUM<\/span><\/i>, as well as EPs and singles, including the duet M\u00e9lancolie with Patrick Watson and her recent English-language ballad <\/span>Carrie<\/span><\/i>.<\/span><\/p>\n

          Philippe Cyr<\/b> is a Canadian theater director. Over the past few years, he has created nearly 25 shows. Drawing on a variety of materials, he charts a course punctuated by formal questioning and takes an incisive look at the gray areas of existence. His work has been exceptionally well received by audiences and critics alike, earning him and his collaborators numerous nominations. The works in which he participates are presented on tour in Quebec, Canada, South America, and Europe. Among the most notable are <\/span>Le iShow<\/span><\/i> (2013), <\/span>J\u2019Aime Hydro<\/span><\/i> (2016), <\/span>Le Poids des Fourmis <\/span><\/i>(2019), <\/span>Corps Titan (Titre de Survie)<\/span><\/i> (2021), <\/span>Insoutenables Longues \u00c9treintes <\/span><\/i>(2023), and <\/span>Ces Regards Amoureux de Gar\u00e7ons Alt\u00e9r\u00e9s<\/span><\/i> (2025). In August 2021, he became artistic director and co-executive director of Th\u00e9\u00e2tre Prospero. Under his leadership, in collaboration with co-executive director Vincent de Repentigny, Prospero is further exploring issues related to boundaries and transgressive approaches. This translates into vibrant, moving, and deeply humanistic creations.<\/span><\/p>\n

          Camila Rocha <\/b>is scientific director of Centro para Imagina\u00e7\u00e3o Cr\u00edtica at Cebrap. She holds a PhD in political science from Universidade de S\u00e3o Paulo and received the Tese Destaque USP award as well as the Associa\u00e7\u00e3o Brasileira de Ci\u00eancia Pol\u00edtica award for best doctoral dissertation. Rocha was a finalist for the 64th Pr\u00eamio Jabuti with the book <\/span>Menos Marx Mais Mises: O Liberalismo e a Nova Direita no Brasil<\/span><\/i>. She has also been a columnist for Folha de S.Paulo, serves as a global advisor to Our Common Home, and sits on the board of Instituto Democracia em Xeque.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

          \n\t\t\t\t
          \n\t\t\t\t\t\t\t\t\t\t\t\t
          \n\t\t\t\t\t\t\t\t\t\t\"PP-\t\t\t\t\t\t\t\t\t\t\t
          <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
          \n\t\t\t\t
          \n\t\t\t\t\t\t\t
            \n\t\t\t\t\t\t\t
          • \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\tMarch 15, Sunday<\/span>\n\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
            \n\t\t\t\t
            \n\t\t\t\t\t\t\t\t\t

            After the performance of <\/span>Republikkk or Crossroads Aren\u2019t Alleys<\/i><\/b>, 4pm | CCSP<\/span><\/p>\n

            WITH<\/b> Hercules Morais and Jaqueline Moraes Teixeira<\/span><\/p>\n

            Hercules Morais<\/b> is an artist, philosopher, and multidisciplinary researcher whose work investigates art as a technology of presence and meaning. He was part of Centro de Pesquisa Teatral (CPT), under the direction of Antunes Filho. He has performed in 15 productions as an actor and co-directed six. He has received awards from Associa\u00e7\u00e3o Paulista de Cr\u00edticos de Arte (APCA) and Pr\u00eamio Aplauso Brasil, including best playwright and best actor. Morais is co-founder and director of training at N\u00facleo de Artes C\u00eanicas (NAC), a national reference in author-driven training. He directs Instituto REC \u2013 Constru\u00e7\u00e3o Est\u00e9tica da Realidade, dedicated to articulating arts, health, and meaning in life. His project in development, <\/span>Os Brasis de Darcy \u2013 Biografias de um Brasil em Extin\u00e7\u00e3o<\/span><\/i>, undertakes artistic-documentary expeditions across threatened Brazilian biomes \u2014Cerrado, Pantanal, Mata Atl\u00e2ntica, and Pampa\u2014 bringing together field listening and the creation of scenic-sensory devices. The project unfolds as a stage work, documentary film, and immersive installation, transforming territory and memory into artistic material. Its first stage resulted in <\/span>Republikkk ou Encruzilhada N\u00e3o \u00c9 Beco<\/span><\/i>, a work that combines ritual theatre, documentary dramaturgy, and sensory language to reflect on ecological collapse and the symbolic imaginary in contemporary Brazil.<\/span><\/p>\n

            Jaqueline Moraes Teixeira <\/b>is a professor in the department of health and society at Faculdade de Sa\u00fade P\u00fablica da USP. She previously served as an adjunct professor in the department of sociology at UnB (SOL\/UNB). She holds a PhD in social anthropology from USP, where she also earned her MA. Teixeira has a BA in social sciences from USP and a BA in theology from Universidade Presbiteriana Mackenzie. She is a researcher at Cebrap (Centro Brasileiro de An\u00e1lise e Planejamento), conducting research in the areas of gender, race, sexuality, and religion. She is also a collaborating researcher at ISER (Instituto de Estudos da Religi\u00e3o) and coordinator of CRESPO (Cultura, Religi\u00e3o, Sujeitos e Pol\u00edticas). The professional currently serves as deputy treasurer of Associa\u00e7\u00e3o Brasileira de Antropologia and is a member of the editorial committee of Cadernos Pagu. In addition to serving as a full supervisor in the graduate program in sociology at UnB, she continues as a collaborating professor in the area of education and social sciences (inequalities and differences) in the graduate program in education at USP. Her research interests include religion and social markers of difference, education and human rights, and subjects and the production of public health policies.<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

            \n\t\t\t\t
            \n\t\t\t\t\t\t\t\t\t\t\t\t
            \n\t\t\t\t\t\t\t\t\t\t\"PP-Republikkk\t\t\t\t\t\t\t\t\t\t\t
            <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

            Critical Perspectives Thought-in-Process Thought-in-Process Guests from different fields gather after the performances to engage in dialogue with the audience and the artists about the shows. March 7, Saturday After the performance of History of Violence, 9pm | Teatro Liberdade WITH Thomas Ostermeier and Helena Vieira Thomas Ostermeier has been a resident director and a member […]<\/p>\n","protected":false},"author":1,"featured_media":14034,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[164,176,180],"tags":[],"class_list":["post-13338","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-164","category-critical-perspectives-26","category-thought-in-process-oc-26"],"yoast_head":"\nThought-in-Process - MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Thought-in-Process\" \/>\n<meta property=\"og:description\" content=\"Critical Perspectives Thought-in-Process Thought-in-Process Guests from different fields gather after the performances to engage in dialogue with the audience and the artists about the shows. March 7, Saturday After the performance of History of Violence, 9pm | Teatro Liberdade WITH Thomas Ostermeier and Helena Vieira Thomas Ostermeier has been a resident director and a member […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\" \/>\n<meta property=\"og:site_name\" content=\"MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo\" \/>\n<meta property=\"article:published_time\" content=\"2026-02-17T10:17:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-01T22:05:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"980\" \/>\n\t<meta property=\"og:image:height\" content=\"580\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"maducato_admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"maducato_admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\"},\"author\":{\"name\":\"maducato_admin\",\"@id\":\"https:\/\/mitsp.org\/#\/schema\/person\/d10e475d1270acdf327d8772768cd462\"},\"headline\":\"Thought-in-Process\",\"datePublished\":\"2026-02-17T10:17:01+00:00\",\"dateModified\":\"2026-03-01T22:05:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\"},\"wordCount\":2004,\"image\":{\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg\",\"articleSection\":[\"2026\",\"Critical Perspectives\",\"Thought-in-Process\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\",\"url\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\",\"name\":\"Thought-in-Process - MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo\",\"isPartOf\":{\"@id\":\"https:\/\/mitsp.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg\",\"datePublished\":\"2026-02-17T10:17:01+00:00\",\"dateModified\":\"2026-03-01T22:05:42+00:00\",\"author\":{\"@id\":\"https:\/\/mitsp.org\/#\/schema\/person\/d10e475d1270acdf327d8772768cd462\"},\"breadcrumb\":{\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage\",\"url\":\"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg\",\"contentUrl\":\"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg\",\"width\":980,\"height\":580,\"caption\":\"Pensamento-em-Processo\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"In\u00edcio\",\"item\":\"https:\/\/mitsp.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"2026\",\"item\":\"https:\/\/mitsp.org\/category\/2026\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Olhares Cr\u00edticos\",\"item\":\"https:\/\/mitsp.org\/category\/2026\/olhares-criticos-26\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"Thought-in-Process\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/mitsp.org\/#website\",\"url\":\"https:\/\/mitsp.org\/\",\"name\":\"MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo\",\"description\":\"Recortes da cena contempor\u00e2nea mundial\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/mitsp.org\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/mitsp.org\/#\/schema\/person\/d10e475d1270acdf327d8772768cd462\",\"name\":\"maducato_admin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/mitsp.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6c3b45186a8f5a459d8e14c7fca370bceae92402bc06171d75e4e559b6c24393?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6c3b45186a8f5a459d8e14c7fca370bceae92402bc06171d75e4e559b6c24393?s=96&d=mm&r=g\",\"caption\":\"maducato_admin\"},\"sameAs\":[\"https:\/\/mitsp.org\"],\"url\":\"https:\/\/mitsp.org\/en\/author\/maducato_admin\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Thought-in-Process - MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/","og_locale":"en_US","og_type":"article","og_title":"Thought-in-Process","og_description":"Critical Perspectives Thought-in-Process Thought-in-Process Guests from different fields gather after the performances to engage in dialogue with the audience and the artists about the shows. March 7, Saturday After the performance of History of Violence, 9pm | Teatro Liberdade WITH Thomas Ostermeier and Helena Vieira Thomas Ostermeier has been a resident director and a member […]","og_url":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/","og_site_name":"MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo","article_published_time":"2026-02-17T10:17:01+00:00","article_modified_time":"2026-03-01T22:05:42+00:00","og_image":[{"width":980,"height":580,"url":"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg","type":"image\/jpeg"}],"author":"maducato_admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"maducato_admin","Est. reading time":"10 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#article","isPartOf":{"@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/"},"author":{"name":"maducato_admin","@id":"https:\/\/mitsp.org\/#\/schema\/person\/d10e475d1270acdf327d8772768cd462"},"headline":"Thought-in-Process","datePublished":"2026-02-17T10:17:01+00:00","dateModified":"2026-03-01T22:05:42+00:00","mainEntityOfPage":{"@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/"},"wordCount":2004,"image":{"@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage"},"thumbnailUrl":"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg","articleSection":["2026","Critical Perspectives","Thought-in-Process"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/","url":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/","name":"Thought-in-Process - MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo","isPartOf":{"@id":"https:\/\/mitsp.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage"},"image":{"@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage"},"thumbnailUrl":"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg","datePublished":"2026-02-17T10:17:01+00:00","dateModified":"2026-03-01T22:05:42+00:00","author":{"@id":"https:\/\/mitsp.org\/#\/schema\/person\/d10e475d1270acdf327d8772768cd462"},"breadcrumb":{"@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/mitsp.org\/2026\/pensamento-em-processo\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#primaryimage","url":"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg","contentUrl":"https:\/\/mitsp.org\/wp-content\/uploads\/2026\/02\/Capa-PP.jpg","width":980,"height":580,"caption":"Pensamento-em-Processo"},{"@type":"BreadcrumbList","@id":"https:\/\/mitsp.org\/2026\/pensamento-em-processo\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"In\u00edcio","item":"https:\/\/mitsp.org\/"},{"@type":"ListItem","position":2,"name":"2026","item":"https:\/\/mitsp.org\/category\/2026\/"},{"@type":"ListItem","position":3,"name":"Olhares Cr\u00edticos","item":"https:\/\/mitsp.org\/category\/2026\/olhares-criticos-26\/"},{"@type":"ListItem","position":4,"name":"Thought-in-Process"}]},{"@type":"WebSite","@id":"https:\/\/mitsp.org\/#website","url":"https:\/\/mitsp.org\/","name":"MITsp - Mostra Internacional de Teatro de S\u00e3o Paulo","description":"Recortes da cena contempor\u00e2nea mundial","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/mitsp.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/mitsp.org\/#\/schema\/person\/d10e475d1270acdf327d8772768cd462","name":"maducato_admin","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mitsp.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6c3b45186a8f5a459d8e14c7fca370bceae92402bc06171d75e4e559b6c24393?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6c3b45186a8f5a459d8e14c7fca370bceae92402bc06171d75e4e559b6c24393?s=96&d=mm&r=g","caption":"maducato_admin"},"sameAs":["https:\/\/mitsp.org"],"url":"https:\/\/mitsp.org\/en\/author\/maducato_admin\/"}]}},"_links":{"self":[{"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/posts\/13338","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/comments?post=13338"}],"version-history":[{"count":8,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/posts\/13338\/revisions"}],"predecessor-version":[{"id":14092,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/posts\/13338\/revisions\/14092"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/media\/14034"}],"wp:attachment":[{"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/media?parent=13338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/categories?post=13338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mitsp.org\/en\/wp-json\/wp\/v2\/tags?post=13338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}