PEDAGOGICAL EXU WHIRLS

WHAT'S THE TURN THAT SPINS THE WHIRL? When did encounter ceased to be a scenic act? And why do afforestation of affections processes summon us to potable poetics of aesthetic life? Yet, when will the end of the narrative cease to be the plot thread?

We are not only facing the resume to onsite challenge of a festival as big as MITsp after two years of confinement. We are here to fix what is left of what should never have been lost; or to imagine what has been gained from what should never have been left over. Digitalism propelled us to a technoviviality of the scene amid several collapses. During the pandemic, we were between the overdose of screens and fruitful experiences (such as MIT+), on the one hand, and the collapse of onsite modes combined with the decrease in economic subsidies for culture, thus generating cuts and a smaller edition of the festival (MIT-). A whirlwind festival such as MITsp needs to be festival and it needs to be whirlwind. And whirlwind is no better than breeze and no snake is better than ant.

The turn that spins the whirl, besides being another turn, is as spin as the whirl. There is no better show than pedagogical action, or vice versa. Crossing a work is another work. So, the Pedagogical Axis is a Pedagogical Exu. Devouring the scene with another scene tone. The whirls Exu has been taking in digital theatricality make the Pombas-Giras the guides of scene pedagogy. Every show is a crossroads. Every pedagogical activity is a crossroads.

Thus, in addition to the traditional workshops and panels, we designed a schedule where new creations and practices will give rise to desires. The idea that we can only elaborate the theatrical scene within the set of theatrical configurations is a constipation. By presenting a set of musical, visual, audiovisual and performative numbers, we find that language is not the end of the scene, but its thread.

When we notice that the pedagogical practice of the scene is an affection mode, we will have new stamina nutrients of non-pimping lives. Potable aesthetics are those not subservient to colonial models of love. Perhaps the theatricalities of the ocean's depths, the sky's immensity and the beauty of the mountains whets us to 14

poetic-affective pacts that do not refer to houses or marriages, but to causes and provocations.

If the purpose of the gathering is the encounter, the purpose of the encounter is the affectionsynthesis.

DODI TAVARES BORGES LEAL