MITbr – BRAZIL PLATFORM

ancés Tieta Macau

BRAZIL, 2017 | 45min | PARENTAL RATING FREE

Teatro Arthur Azevedo Sala Multiuso 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 9 THU 10 FRI 11 SAT 7pm 12 SUN 5pm - 8pm

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

Ances is an investigation work started seven years ago setting a course between presence and absence, activating not coded memories in sayable or linear instances. The choreography unfolds from Cronos Greco-Roman linearity, set by hours, to a time and space directed to Iroko, an orixá which candomblé worships in Brazil, governed by the intrinsic time of action. It cut across the time of memories’ evocation and articulation, which occur between movement, sound and word, traces comprising the present of creation. Thus, Tieta Macau presents the show as a way of thinking/inventing relations between ancestry, body, memory and contemporaneity, placing dance as a possibility of re-articulating narratives, turning what was homogeneous heterogeneous, causing stagnation, interruptions, veering from patterns, inventing, proposing new ends and beginnings.

HISTORY Tieta Macau is the child of a serpent, creator of scenic macumbarias and other spirals. Was accepted in the 2020/2021 edition of Laboratórios de Criação do Porto Iracema das Artes (CE) with the Lança de Cabocla project. With Assombros e Trincheiras project, was approved in the creation category of Panorama Raft, in co-production with Panorama Festival (RJ). The artist was invited to collaborate with Plataforma EhCHo 2021 edition, a space for international promotion and dissemination created by Denise Ferreira da Silva and other artists and researchers. Award-winning best actress in short film at the 49th Gramado Film Festival and as best supporting actress in feature film at the 43rd Guarnicê de Cinema, she is currently part of the research and creation scholarship program of PACT ZOLVERREIN (GER). Between 2021 and 2022, she took part in Manifesta 22 and Festival Refestália in the program of the modern art centenary at Sesc-SP. Has a degree in Theatre from UFMA(MA) and she is an undergraduate in Dance and a master’s degree student in Social History at UFC (CE).

CONCEPT AND PERFORMANCE Tieta Macau SOUND CONCEPT Elton Panamby LIGHTING AND PRODUCTION Abeju RIzzo

“According to the Fanonian thinking, decolonizing is the process or the capacity of the colonized subject to say no, a refusal that makes them a political subject. In this way, the colonized body ceases to be an object and becomes a subject, the owner of its history. Simplicity; rough, rude, natural; without education. This is the decolonization process, returning to the origin, being natural. That simplicity that is not domesticated, or does not allow itself to be dominated. One of the Eurocentric thoughts was domination by domestication of the body, mind and spirit. Therefore, the decolonised is the one who says no. Tieta, impolite, insults the owner of her story, who does not become white."

deferred judgement

despacho deferido Jaqueline Elesbão/Coletivo Pico Preto

BRAZIL, 2021 | 34min | PARENTAL RATING 16+

Teatro Arthur Azevedo 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 6pm 9 THU 8pm 10 FRI 11 SAT 12 SUN

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

Having an afro-futurist perspective, the solo Deferred Judgment is an invitation to ancestry resistance and preservation. Using metaphors linked to the universe of games, it brings to the black audience the experience of imagining themselves as a fundamental part in a system that unveils racism and sustains sexism. Structures are dismantled and reconfigured in disobedience to the dominant logic, as a necessary amend enhancing the change of history of violence and constraints. On stage, Jaqueline Elesbão interacts virtually with black faces, plays capoeira with herself, dances with an atabaque. Images of Brasilia and chess, dominoes and snooker games are interspersed aiming at stimulating reflections on the imaginary, black narratives and the construction of the black as the other and with themself.

HISTORY Coletivo Pico Preto, created in 2016, focuses on affirmative cultural actions. The group consists of Inaíra Meneses, Anderson Gavião and Jaqueline Elesbão, creator of the project. The Collective’s first production was the solo Entrelinhas, directed, choreographed and interpreted by Jaqueline Elesbão, in 2012. It took part in important festivals in Brazil and abroad. This show’s research unfolded into subsequent works of the group, such as the web series and documentary Voz sem Medo and the workshop Resiliência do Corpo-História, a study on how historical social violence affects the female black body. Deferred Judgement, new solo by Jaqueline Elesbão, is part of the group’s portfolio. DIRECTION, CHOREOGRAPHY AND PERFORMANCE Jaqueline Elesbão EXECUTIVE PRODUCTION Inaíra Meneses PRODUCTION AND BODY TRAINER Anderson Gavião VIDEO MAPPING Ani Haze VJ ASSISTANT Priscila Rodrigues MUSICAL DIRECTION EdBrass Brasil SOUNDTRACK EdBrass and Rafael Kalunga LIGHTING Moisés Victório COSTUMES Jaqueline Elesbão COSTUMES MAKING Maria Belízia (Dona Bela) TEASER Ives Padilha

THIS PROJECT WAS AWARDED THE ANSELMO SERRAT ARTISTIC LANGUAGES PRIZE, BY THE GREGÓRIO DE MATTOS FOUNDATION, SALVADOR CITY HALL, THROUGH THE ALDIR BLANC CULTURAL EMERGENCY LAW, WITH RESOURCES FROM THE SPECIAL SECRETARY OF CULTURE, MINISTRY OF TOURISM, FEDERAL GOVERNMENT.

e.l.a Jéssica Teixeira

BRAZIL, 2019 | 70min | PARENTAL RATING 14+

Teatro João Caetano 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 9 THU 10 FRI 11 SAT 9pm 12 SUN 3pm

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

In her solo, actress Jéssica Teixeira investigates her own body – restless, strange and misshapen – and questions how it interacts with the world. Assuming the A.L.S.O persona in contrast to her body (He) [in Portuguese body is a masculine word], Jessica makes her physique become a multifaceted tool (ethical, political, aesthetic), which disrupts and enhances other bodies and sights, seeking a sensitive view of diversity and multiplicity, as well as criticizing the imposition of beauty standards. The artist relies on theoretical texts (such as O Corpo Impossível, book by researcher Eliane Robert Moraes) and her own biography to create, onstage, a mixture of testimony and performance scenes. We see, in this narrative transit, her body becoming many: from pop diva to cyborg, until she gets rid of her ropes ending up in savagery.

HISTORY Jéssica Teixeira is an actress, producer, director and screenwriter, graduated in Theatre and has a MA from the Federal University of Ceará. She has worked with performing arts since the age of seven and has worked with several groups in the capital and Ceará’s inland. She has taken part in more than 30 shows as an actress, in performances and video performances. Recently, she developed a research on Corpo Impossível from the investigation of her own unusual body, raw material for her first solo conception, A.L.S.O, in which she is an actress, producer and playwright. In audiovisual, Jéssica made in 2020, the documentary Pudesse Ser Só um Enigma, she also acted, scripted and produced the short film Curva Sinuosa, directed by Andréia Pires, in 2021. In the same year, she acted in the short film Possa Poder, directed by Victor Di Marco and Márcio Picolli. Currently, she has started directing the first theatre solo from Victor Di Marco, a multi-artist from Rio Grande do Sul. PERFORMANCE AND PRODUCTION Jéssica Teixeira DIRECTION Diego Landin VIDEO MAPPING DIRECTION Pedro Henrique ART DIRECTOR Yuri Yamamoto EXECUTIVE PRODUCTION Pedro Leão COSTUME DESIGNER Yuri Yamamoto and Isac Bento DRAMATURGY CONSULTANT Maria Vitória VOCAL COACH Priscila Ribeiro SCULPTOR Kazane FINAL SONG Dancing Barefoot, by Patti Smith, e-recorded by Fernando Catatau and Artur Guidugli 57

CENOTECHNICIAN Marsuelo Sales LIGHTING Fábio Oliveira LIGHT TECHNICIAN Fernanda Pinheiro VIDEO CLIP Gustavo Portela VIDEO CLIP MUSIC Saúde Mecânica, by Edgar CHOREOGRAPHY Andréia Pires GRAPHIC DESIGN Diego Landin | ERRATICA PR Aecio Santiago PRODUCTION ASSISTANCE Wescly Psique STAGEHAND Aristides de Oliveira TEXTS Jéssica Teixeira, Vera Carvalho and fragments by Eliane Robert Moraes and Paul Beatriz Preciado POSTER PHOTO Beto Skeff PUBLICITY PHOTOS Beto Skeff and Victor Augusto Nogueira SOCIAL MEDIA Phriscila Carvalho PRESENTED BY Cubo Cultural Realização | Catástrofe Produções

“When bringing biographical episodes, the actress draws in parallel a historical line from the Greek body, reaching the world wars and the most recent actions. Jessica talks about beauty, its other forms, ways of being in the world. She turns her body into a political act. Subverts logic. Summons the protagonism to herself. She dissects the beautiful and functional body dictatorship, those without such a profile would be exterminated.”

IVANA MOURA, Satisfeita, Yolanda?

they practice contemporary dance

eles fazem dança contemporânea Leandro Souza

BRAZIL, 2019 | 40min | PARENTAL RATING 16+

Teatro Arthur Azevedo Sala Multiuso 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 7pm

9 THU 7pm - 9pm 10 FRI 11 SAT 12 SUN

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

While handling a pile of synthetic hair, artist Leandro Sousa constantly repeats the question “Am I black enough for you?”, chorus of a song by African-American singer Billy Paul. They Practice Contemporary Dance is a choreographic solo provoked by the entanglement of speech, body and object. In it, the artist searches for a synthesis scene capable of revealing dilemmas, noises and tensions, involving black existences in western contemporary art. The dance is articulated over new insights about choreography, in dialogue with visual arts and performance and aligned with the growing demand for representativeness and decolonization of art and knowledge production. Leandro seeks to stress blackness issues, in relation to the Eurocentric ways of making, thinking and seeing art. He provokes reflections about a logic of the “specific place”, by which artistic institutions operate and to which racialized and subaltern bodies are despised.

HISTORY Leandro Souza is a dance artist; he produces independently in São Paulo. He works on the frontier of languages, moving through knowledge, investigating unusual approaches to movement, crafting procedures for creation and research in art. His works result from entangled processes of seeing, thinking and making art. The highlights are: They Practice Contemporary Dance (2019), awarded by ProAC, which premiered at Sesc Campinas and toured at Centro Cultural São Paulo (CCSP) and at Oficina Cultural Oswald de Andrade. The work was part of the program of Histórias da Dança exhibition at Masp, in 2020. Sismos e Volts (2018) received the APCA award, with presentations at Bienal Sesc de Dança 2019, at Encuentro Internacional de Arte Escénico Contemporáneo (EINCE), in Mexico, and at Festival Contemporâneo de São Paulo. Currently, he is working on the project A Gente É Sutil, Vocês São Explícitos, granted by the 29th Public Notice to Foster Dance for the City of São Paulo.

CONCEPT, CHOREOGRAPHY AND PERFORMANCE Leandro Souza OUTSIDE-EYES Ana Pi, Inés Terra, Renan Marcondes, Thaís de Menezes LIGHTING Gabriele Souza SOUNDTRACK Thiago Salas COSTUMES Leandro Souza SET Leandro Souza, Tetembua Dandara TECHNICAL ASSISTANTS Diego Soares, Matias Arce PHOTOS AND FILMING Bruta Flor Filmes PRODUCTION Tetembua Dandara

“Leandro’s voice, repeating the same phrases (in English and Portuguese), creates a kind of rhythm for the scene, plus a feeling of almost hypnosis with the audience, while performing movements which escape dance coded signals”.

ConecteDance

“Souza’s dance asks itself if it is enough to be the thing itself (the body being seen) or if it is necessary that the audience identifies some sign of blackness for the artist to be, as he himself incessantly repeats on stage, ‘black enough’. With this central question, the work invites each individual that watches it to also question themselves: what do I, from my previous cultural and social parameters, call ‘contemporary dance’ and ‘black dance’? And at what points do these representations approach or distance themselves?”

Cia. Dita

BRAZIL, 2019 | 40min | PARENTAL RATING 18+

Teatro Arthur Azevedo 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 9 THU 10 FRI 11 SAT 6pm 12 SUN 7pm

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

The word Fortaleza [Fortress] brings the ambiguity of being the name of the State of Ceará’ capital, in Brazil’s northeast part, and to name a military architectural structure designed for defense – pointing to strength and fortification ideas. The Cia. Dita’s show refers to these two possibilities, since it works based on the city’s iconography, through photos depicting the naked dancers in front of architectural landmarks. The work presents itself as resistance, revealing a political body-city that seeks to make it possible to live in the harshness of urban life, while highlighting its indigenous roots, the effect of the Belle Époque and other historical facts of the capital. It reveals outer and marginal bodies in a permanent state of war. There they simultaneously carve themselves to the violence and kindness of the city, which brings within itself the idea of strength in its name.

HISTORY Cia. Dita debut was in 2003, directed by choreographer Fauller from Ceará, presenting the show De-vir, in Fortaleza. In the following years it began touring to several Brazilian cities. The group also created the shows INC., Obvio, L’après Midi d’un Fauller, Corpornô, Mulata and Fortaleza. The company also plunged into cinema and other languages. They took part in important festivals and dance events in Brazil, such as: International Dance Biennial of Ceará, Panorama Festival - RJ, International Dance Forum of Belo Horizonte - FID, Festival Palco Giratório, Circulação Sesc Nacional, Festival Viva Dança and Festival de Dança de Itacaré - Bahia, Conexão Dança - Maranhão. Abroad, they performed at Festival Brasil Move Berlin, FIDAE - Montevideo, Festival de Teatro de Rafaela (Argentina), Festival Brasil in Chile, Chile en Brasil (Santiago) and Conexão Cabo Verde. DANCERS AND CREATORS Clarissa Costa, Enoque Viana, Fauller, Patrícia Crespí, Henrique Castro and Wilemara Barros DIRECTION AND CONCEPT Fauller FORTALEZA PROJECT PHOTOS Régis Amora ORIGINAL SOUNDTRACK Ayrton Pessoa LIGHT DESIGN Fábio Oliveira LIGHTING TECHNICIAN Ciel Carvalho

“The edification of this city made by the people and from them is what should be in the new staging, from the indigenous roots, through the relationship with the Belle Époque, to more recent events linked to urban violence - such as the Curió and Gentilândia massacres.”

there’s more future than past – a docufiction play

há mais futuro que passado – um documentário de ficção Complexo Duplo

BRAZIL, 2017 | 75min | PARENTAL RATING 16+

Teatro Alfredo Mesquita 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 9 THU 8pm 10 FRI 4pm 11 SAT 12 SUN

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

A critique to official historiography and the power that hegemonic narratives wield over our worldview, the lecture-performance sheds light on the life and work of important Latin American women. As in a lecture, the three actresses present research about artists from different Latin American countries, with productions from the 1960s to the 1980s. Using documents, letters, videos, audio recordings and songs, they question the predominance of male and European names as distinguished personalities. In addition, they discuss the gap between Brazil and neighbouring countries and how we do not know what was produced so close to us. Throughout the narrative, the lecture tone of the cast (which, onstage, also operates videos, sound and lighting) gives way to poetic passages, sewing a discourse that conflicts fiction with documentary.

HISTORY Complexo Duplo is a continuous work group, based in Rio de Janeiro, which has presented theatre shows and formative actions since 2010. In 2011 and 2012, the group’s work was consolidated with the curatorship of a public space; Gláucio Gill Theatre alongside Ocupação Complexo Duplo, a project nominated for the Shell Award and the APTR Award in the special category. Since then, the collective has carried out many projects in Rio de Janeiro and in other cities in Brazil. Among the most recent are Cabeça – Um Documentário Cênico and There’s More Future than Past – A Docufiction Play, staged since 2016 and 2017, respectively. In 2018 and 2020, the group held two editions of Complexo Sul – International Exchange Platform, which promotes artistic exchanges between Latin American countries and experimental spaces for projects by Brazilian artists from performing arts.

CONCEPT Clarisse Zarvos, Cris Larin, Daniele Avila Small, Mariana Barcelos, Tainá Nogueira and Tainah Longras DRAMATURGY Clarisse Zarvos, Daniele Avila Small and Mariana Barcelos DIRECTION Daniele Avila Small CAST Clarisse Zarvos, Cris Larin and Tainah Longras VIDEO APPEARANCE Carolina Virgüez PRODUCTION DIRECTION Fernanda Avellar MOTION DIRECTION Denise Stutz SET DESIGN Elsa Romero LIGHTING Ana Kutner COSTUMES Raquel Theo SOUNDTRACK Julia Bernat and Laura Becker PROJECT ORIGINAL IDEA Clarisse Zarvos and Daniele Avila Small

“Assertiveness goes hand in hand with the structuring narrative procedure: the exchange of letters between prominent personalities (most unknown to us, Brazilians, consciously or unconsciously concealed when it comes to Latin American roots and ties). The adoption of the epistolary genre, so fertile in literature, makes sustainable the dramaturgical mesh on which the enactment bases its path, among biographical data, historical contexts and the infinite field of invention.”

VALMIR SANTOS, Teatrojornal

“One of the play’s highlights is the resignification that actress Tainah Longras makes of Victoria Santa Cruz’s songpoem Negra. Being a black woman, the actress reinterprets the poem and the audience is moved by her performance. Her performative act adopts, delimits and claims a look at herself, placing herself in dialogue with each verse (chorus-stanza) of Santa Cruz’s poem-performance and, at the same time, each gesture of her also takes and asks an act of collective resistance from thousands of black women.”

rough lock

trava bruta Leonarda Glück

BRAZIL, 2021 | 70min | PARENTAL RATING 18+

Teatro João Caetano 2 THU 3 FRI 4 SAT 5 SUN

6 MON 7 TUE 8 WED 9pm 9 THU 5pm 10 FRI 11 SAT 12 SUN

R$ 20 and R$ 10 (half-price) | Box office: opens on the day of the performance, one hour before the show

From her transsexual experience, Leonarda Glück presents a stage manifesto proposing a bridge and also a contrast between the artistic context and the current Brazilian political and social scenario in the sexuality field. Alone onstage, the actress and playwright discusses the relation between culture and transsexuality, debates what it’s like to be a trans artist in today’s country and how society reacts to a body provoking disgust and desire at the same time. Therefore, the show seeks strains between fiction and reality, sewing many layers of artificiality, such as video projections, sound effects, social media filters (which modify the actress’s appearance) and costume tricks, which sometimes reveal, sometimes conceal. Those features are destroyed and deconstructed throughout the narrative, in a constant inquiry about which fictions are allowed, what diversities are accepted.

HISTORY Leonarda Glück is an actress, playwright and theatre director graduated from the School of Arts of Unespar, Paraná. She is co-founder of Companhia Silenciosa and Coletivo Selvática Ações Artísticas and has more than 20 texts staged by different Brazilian and international groups, companies and artists. In 2016 she published the book A Perfodrama de Leonarda Glück - Literaturas Dramáticas de Uma Mulher (Trans) de Teatro, a collection of six theatre texts. In 2018, her adaptation of Anton Chekhov As Três irmãs - Um Melodrama Rocambolesco em Quatro Capítulos was presented in Madrid, Spain, at DT Espacio Escénico. Her more recent works in theatre are A Mesa (2019), concept carried out at the invitation of Sesc Ipiranga for Projeto Dramaturgias 2, Infâmia (2021), which resulted in a digital stage experiment by Grupo XIX de Teatro, due to Covid-19 pandemic, and Rough Lock (2021), text awarded by the 6ª Mostra de Dramaturgia em Pequenos Espaços Cênicos from CCSP.

CONCEPT, TEXT AND PERFORMANCE Leonarda Glück DIRECTION Gustavo Bitencourt PRODUCTION DIRECTION Igor Augustho ORIGINAL SOUNDTRACK Jo Mistinguett LIGHTING Wagner Antônio LIGHTING ASSISTANT Dimitri Luppi VIDEO CONCEPT AND PROJECTIONS Ricardo Kenji COSTUMES Fabianna Pescara and Renata Skrobot PHOTOS Alessandra Haro PRODUCED AND PRESENTED BY Pomeiro Gestão Cultural

“Rough Lock: always willing to confront. Torn apart fortress by always being ready for its own faith. Fatalities and shames are eagerly desired and consumed, at all times stealing our care, breaths and contemplation. Against this destiny of misery, rudeness and virility, we forge ourselves in delicate brutalities. Simple and unique.”

JUHLIA SANTOS, journalist, actress, performer and gender researcher