Dossiê Curadores MITsp 2022

MINISTÉRIO DO TURISMO, ITAÚ, SABESP AND SECRETARIA MUNICIPAL DE CULTURA PRESENT

8th são paulo international theatre festival

EDITORS Ferdinando Martins and Malu Barsanelli VISUAL IDENTITY and GRAPHIC DESIGN Casaplanta [Amanda Dafoe] + Lila Botter DESIGN ASSISTENTS André Luiz and Olivia Abrahão TRANSLATION Kevin Kraus

8th são paulo international theatre festival

table of contents

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06

PRESENTATION

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THE ART OF NOT DYING

10

A TIME HEARING

12

PUBLIC LIFE, CRITICAL PERSPECTIVES AND COEXISTENCE (IM)POSSIBILITIES

14

PEDAGOGICAL EXU WHIRLS

16

MITsp PROGRAM

46

MITbr – BRAZIL PLATFORM

76

CRITICAL REGARDS

88

EDUCATIONAL ACTIVITIES

98

SPECIAL EVENT

100 TICKETS AND ADRESSES 101

PUBLICATIONS AND OFF-CIRCUIT

102

TECHNICAL SHEET

104

ACKNOWLEDGMENTS

108 SHOW'S GRID 110

CRITICAL REGARDS AND EDUCATIONAL ACTIVITIES' GRID

presentation

IN ITS EIGHTH EDITION, MITsp – São Paulo International Theatre Festival resumes its onsite activities. It is a leaner programme, but no less reactive to the urges of present time. We have left a period of pandemic constraints to regain strength and revive the power of being together. We gathered a part of the contemporary world scene, with productions going through language experimentation and showing criticism of their own time.

MITsp program brings together national and foreign works, including some original shows and a production by MITsp. MITbr - Platform Brazil continues as an important program for the internationalisation of Brazilian performing arts. Critical Regards complement the programme, inviting the audience to think about performing arts and contemporaneity with panels, articles and reviews; and the Educational Activities axis, with workshops, performances and activities bringing the debate to new pedagogies.

We finally arrived in 2022, alive, vibrant and active.

MITsp PROGRAM In this edition, we have gathered a bunch of recent productions of important names on the world scene. Franco-Moroccan Mohamed El Khatib, part of MITsp 2019 with solo Finir en Beauté, is back to the Festival, this time with Stadium, a work discussing mass behaviour through football. The social debate also outlines Hammer and Sickle, an adaptation of French director Julien Gosselin for Don DeLillo's work, an allegory critical of the excesses of capitalism. The German group Rimini Protokoll deals with our strange and familiar relation with machines in Uncanny Valley.

Argentinian Lisandro Rodríguez continues the research he began in the last Festival's edition and premieres a new work, produced by MITsp and with dramaturgy by Alexandre Dal Farra. Tragedy and Perspective I - The Pleasure of Not Agreeing is a debate about language and divergence. Also among the original works are History of the Eye - A Porn-noir Fairy Tale, in which Janaina Leite continues her theatre and pornography investigation, based on the work of Georges Bataille; Before Time Existed, a collaboration between indigenous and non-indigenous artists seeking a dialogue between the many forms of existence; and the duo for piano and performance A Garden to Educate Beasts, a collaboration between Eduardo Okamoto, Isa Kopelman, Marcelo Onofri and Daniele Sampaio.

MITbr - PLATFORM BRAZIL Following the proposal to encompass the plurality of languages, themes and artists of the national scene, MITbr brings together, in its fourth year, works debating body and identity issues.

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Ances, by Tieta Macau, Deferred Judgement, by Jaqueline Elasbão and Coletivo Pico Preto, and They Practice Contemporary Dance, by Leandro Souza, deal with ancestry and black people's place in society and the arts. In A.L.S.O, Jessica Teixeira investigates her body onstage, restless and shapeless. Leonarda Glück makes her Rough Lock a manifesto about Brazil and its relationship with sexuality. Cia Dita creates a political body-city in Fortaleza. And Complexo Duplo rescues the history of Latin American women in There's More Future than Past - A Docufiction Play.

CRITICAL REGARDS The Critical Regards axis programme invites the public to think about performing arts and contemporaneity from a series of actions, such as carrying out debates; panels with thinkers of diverse backgrounds and places of speech; also publishing daily articles, interviews and reviews.

The production and contradictions of language and culture in contemporary Brazil are themes guiding this year's Aesthetic-Political Reflections, with panels and open classes taught by Nego Bispo and Denise Ferreira da Silva.

EDUCATIONAL ACTIVITIES Based on the theme Affectionsynthesis, the Education Activities programme seeks theatrical pedagogies questioning human supremacy in relation to other existences.

The Laboratory of Performance Pedagogy is a space devoted to the study and experimentation of the art of performance articulating theoretical studies with concrete aesthetic achievements from collectives, movements, festivals and authorial artistic works. The second edition of Pedagogies of Teatra Encounter is a space to revive theatrical creation methodologies from the disruptive experiences of nonhegemonic knowledge.

Finally, German Wolfgang Hoffmann continues his internationalisation workshop, started last year, in which he discusses strategies to global scenario occupation.

SPECIAL PROGRAMME To fulfil the debate, the screening of the film Quem Tem Medo? [Who's Afraid?], a documentary by Dellani Lima, Henrique Zanoni, and Ricardo Alves Jr., followed by a panel with artists and members of social movements, brings debate on censorship and the rise of extremist ideologies in Brazil.

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the art of not dying

AFTER A PERIOD OF IMPOSED HIBERNATION, MITsp returns for its 8th edition.

The last two years set a time of crisis, insecurity, of internal reassessment. Also a time to listen, of introspection, but never a dead time.

The March 2020 Festival edition was the last theatrical event to be held onsite before the pandemic. In fact, the last three days of the festival had already been shaken by instability, fear about the disease, and the cancellation of some shows on the programme, as cultural bodies and concert halls were already beginning to close doors. But still, fortunately, we managed to hold almost the whole festival.

In the midst of so many impossibilities that followed, we managed to take an important step: the creation of MIT+ digital platform, where we were able, throughout the pandemic, to maintain the presentation of online national and foreign shows, seminars, meetings and lectures, as well as pedagogical activities, all of it in an online format.

However, now we take an even more important step: the reestablishment of the scenic Agora, of onsite public engagement, of theatrical coexistence in loco.

Evidently, the digital experiences lived in the pandemic have opened up other possibilities and perspectives. However, they are not exclusive and, perhaps, we can think, from here, in hybrid and articulated formats between onsite and online.

The Festival's return, within a post-pandemic political and economic context, has been a greater challenge than when we first opened MITsp in 2014. The mockery and dishonesty with which culture area has been treated by the federal government, inflation, euro and dollar's sharp rise in the last two years, the sponsors slowdown – and also injected capital – due to a situation of economic instability, among other reasons, made the event's production even more difficult, especially in relation to international shows.

But in spite of everything – or perhaps for that very reason – we are alive and together here again. It is urgent to fight, more than ever, for a different country, it is urgent to be able to desire and imagine other futures, for our weapons are 8

poetry, and they can overcome death. For as it was sung, in another dark time of this country's history: "Watch out, you must have bold eyes (...) to this darkness. You've got to be aware and strong. We've got no time to fear death. ” May this eighth edition of MITsp lead us to breathe again, scream again, sing again, at the top of our lungs!

ANTONIO ARAUJO AND GUILHERME MARQUES MITsp CREATORS AND DIRECTORS

9

a time hearing

IN 2022, AFTER A LONG PERIOD in which the onsite arts needed to be radically displaced and reconsidered, MITbr seeks to activate the encounter. Face to face.

A movement of hope and persistence inspiring desires and dreams despite the cunning political scenario.

With a programme formed of works, pedagogical activities and mediation, the Festival engages in intense issues that resonate and vibrate, but also shatter and consume themselves, prompting spaces for sharing concept and creation in dance, theatre and performance environments.

The process of performing a curatorship in arts concerns a way of organizing certain choices, based on some motivations, for the creation of a context. It is an ethical and compositional practice that has nothing to do with the identification of the “best works” or “preferred works”, but with a time hearing that rubs and strains possibilities. As for MITbr, the call is for works involved in the scenic investigation and in the viewpoints radicality, mobilized by questions attentive to our time, articulating a scene in an expanded field.

In a historical set that makes the country's cultural scene vulnerable, more than 330 artistic proposals received through a public call presented several perspectives, materiality and configurations – some constituted by the dramaturgical weaving which emerged during social isolation due to the pandemic.

In this unusual and more compact edition, the seven works which are part of MITbr programme go beyond the powers of the works themselves, since each participant artist and collective is also a community, embodying a communal singularity. Each person is the crossing of a network of people, places, events, groups, cultures, communities, ancestries, ecologies. To understand different cosmogonies and imaginary, it was necessary to sharpen decolonial, feminist, anti-racist, anticapacitist and anti-lgbtphobic sensibilities – among other poetic and political crossings – to show a Brazil in complexity, which can be accessed beyond its already established geopolitical power bases.

MITbr 2022 programme composes with memories, bodies, struggles, meanings and affirmations valuing a dialogical and autonomous process, encouraging debates 10

on artistic practices and discourses that collaborate to the invention of different territories of social and aesthetic experience, boosting other existences, unraveling stories, embracing dissonances and contradictions.

As a platform for the internationalization of Brazilian works and artists, the experience at MITbr deals with mediation challenges that are not restricted to the dimensions of language, but, above all, to the exercise of mediation of an intensely plural culture, at a time of massive political crises. Turbulence and strangeness practices are constitutive of this process so that it is possible to blur certainties and hegemonic narratives.

We cannot forget: we are inserted in a political moment in Brazil ruled by a systematic project of annihilation of life in which countless rights are collapsed. We, agents of art and culture, have been the targets of a persecution agenda and frontal violence in which our work is cowardly wiped out.

Brazil agonizes and, therefore, enabling routes of resistance and re-existence such as MITsp is a way to create a ground of solidarity, empathy and love.

JANE SCHONINGER AND JORGE ALENCAR CURATORS OF MITbr - PLATFORM BRAZIL

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public life, critical perspectives and coexistence (im)possibilities

IT HAS NOT BEEN UNCOMMON TO REFER TO THE IDEA OF CURATORSHIP to its primitive sense of healing work. In March 2020, MITsp was facing the beginning of a pandemic, and it was not easy to assume that only two years later the encounter, still under safety protocols, would be possible. In this context and in such a Festival, a “reflective axis” curatorship does not escape the comeback demands. In this case, the return to onsite. If "live" has been the daily resource in this period, as a transmission device, as such, it is a device of both communication and capture, since this "live" is not confused with alive. Bodies and temporalities gain worldwide scale in the transmission sphere. If this digital sphere became unavoidable, it is true that a dimension of presence that escapes any metaphysics was given back to theatre: we are alive and, alive, mourning and struggles move us.

Also it is no coincidence that words are gaining other uses. Transmission and safety, for example, are interchangeable terms in language: health, communication and police topics in a world where the living are governed “live”. How long does it take a live death?

This is not a direct discussion about this state of affairs. Rather, it is a question of discussing what remains of it. If language, in its multiplicity, presumes agreements on the uses we make of signs, perhaps it is not too much to suppose that the impossibility of these agreements is also the symptom of something else: without agreement on the use of certain words, it is a fact that life is at risk. If this end of the line does not start in language, it won't be too much saying that language is the means by which our bets and chances slide through. What do you mean when you say justice, life, death?

Theatre as “public art” has the size of public life in a society. In Brazil, violence remains structural and structuring, continuously producing dynamics of discord, 12

so many times reducing body to corpse. It is important, then, to ask about the use value of encounter. Two years ago it might have sounded rhetorical to say: the purpose of encounter is the encounter. Today, encountering definitely implies a political drive for coexistence, in a society in which it often seems of an impossible nature. In this case, what is the use value of the impossible?

JOSÉ FERNANDO PEIXOTO DE AZEVEDO AND JULIA GUIMARÃES CRITICAL REGARDS AXIS CURATORS

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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

PEDAGOGICAL ACTIVITIES AXIS CURATOR

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MITsp program

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18

stadium

Mohamed El Khatib FRANCE, 2017 | 110min | PARENTAL RATING 10+

Sesc Pinheiros 6 MON

7 TUE

8 WED

2 THU* 8pm

3 FRI 9pm

4 SAT 9pm

5 SUN

9 THU

10 FRI

11 SAT

12 SUN

R$ 40 and R$ 20 (half-price) | Box office: Tuesday to Friday, from 7am to 10pm; Saturday, from 10am to 9pm; Sunday, from 10am to 6pm. Each person can buy up to four tickets. *(Opening cerimony) / 9pm: show (for guests)

Stadium is a tribute from El Khatib to his football-loving father. In this documentary theatre work, which discusses being together, he gathered fans of football club RC Lens, called “the best French fans”. They follow each other in personal statements which are gradually configured in an anthropological investigation of fans’ behaviour, usually associated with rivalries, violence, xenophobia and other forms of discrimination. Beyond stereotypes, complex values, social bonds and the importance of the football ritual unfold. The piece puts the theatre spectator face to face with that of the stadiums, examining what is an audience and what separates, besides the clothes, the two audiences.

HISTORY Mohamed El Khatib is an actor, director and writer born in Orleans, France, in 1980. He is an associated artist at Théâtre de la Ville de Paris, at Centre Dramatique National de Tours – Théâtre Olympia and at Théâtre National de Bretagne – Centre Européen Théâtral et Chorégraphique. His work blends theatre with other disciplines, such as dance, visual arts, cinema and digital media, displaying different views on these relationships. In 2008, he was one of the founders of Zirlib collective, the result of a gathering of authors, actors, researchers, dancers, cameramen and musicians from different backgrounds. The group sees contemporary creation as an experience, a gesture in which the most demanding aesthetic dimension can be confronted day-to-day. The gathering is the outset of each creation. This is the second time of El Khatib at MITsp. In 2019, he presented the show Finir en Beauté.

PH OTO YO H A N N E L A M O U L È R E

TEXT Mohamed El Khatib CONCEPT AND PERFORMED BY Mohamed El Khatib, Fred Hocké WITH FANS OF Racing Club de Lens LOCAL FANS Afonso Costa, Bárbara Lins, Carol Cax, Clarissa Ferreira Monteiro, Danilo Arrabal, Fellipe Sótnas, Gabriel Góes, Gabriel Pangonis, Izaa Robert da Silva Pinheiro, Joy Catharina, Julia Pedreira Monteiro, Lipe Lima, Luana Melo Franco Boamond Rodrigues, Lucas Reitano, Moni Bardot, Paulo Gircys, Pedro Massuela SET, LIGHTING AND VIDEO Fred Hocké SOUND Arnaud Léger ARTISTIC COLLABORATION Eric Domeneghetty, Violaine de 19

Cazenove TECHNICAL DIRECTION Violaine de Cazenove, Jonathan Douchet, Fred Hocké, Arnaud Léger PRODUCTION Martine Bellanza PROMOTION Sylvia Courty MANAGEMENT Alice Le Diouron PRESS Nathalie Gasser PHOTOS Yohanne Lamoulère EDITORIAL BOARD William Nuytens A ZIRLIB PRODUCTION SUPPORTED BY Fondation d’entreprise Hermès under the New Setting programme and the SACD Théâtre Fund.

IN CO-PRODUCTION WITH Théâtre Olympia, Centre dramatique national de Tours – Tandem Douai-Arras, Scène nationale, Festival d’Automne à Paris – Théâtre de la Ville, Paris – La Colline – Théâtre National, Châteauvallon, Scène nationale – Le Grand T, Théâtre de Loire Atlantique – Théâtre National de Bretagne – Théâtre du Beauvaisis – Scènes du Golfe – Vannes, La Scène – Musée du Louvre – Lens Résidences Le Quai – CDN Angers Pays de la Loire, la Ville de Grenay.

THIS SHOW IS SUPPORTED BY THE CONSULATE GENERAL OF FRANCE IN SÃO PAULO.

“True to the asserting concept of ready-made, El Khatib does not provide an answer. He reveals situations and protagonists without taking sides, choosing some reality cut-outs and placing them on stage, rather than on the scene. Live or in video, he brings raw testimonials, without any editing or artistic filter.”

KHAMSA O KHMIS, Baz’art

“It’s not vital knowing football to enjoy Stadium: even those who don’t know the difference of a penalty from a goal 20

kick are there, because technicalities are left aside. The show is above all the theatre of a community behind a flag: ‘Pride of being Lensois’. And this community is far from being solid: unlike the image we have of the fans, who we tend to consider a mass when we don’t go to stadiums, it unfolds on the set in all its diversity and becomes human, embodied by people who have never thought of meeting one day in a theatre and to whom Mohamed El Khatib offers the unique opportunity to show their true selves.”

BRIGITTE SALINO, Le Monde

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premiere

22

before time existed antes do tempo existir

Andreia Duarte, Denilson Baniwa, Kenia Dias, Lilly Baniwa and Ricardo Alves Jr. BRAZIL, 2022 | 80min | PARENTAL RATING FREE

Teatro Cacilda Becker 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT

5 SUN

9 THU

10 FRI 6pm

11 SAT 9pm

12 SUN 9pm

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

A collective creation of indigenous and non-indigenous artists, the show seeks the original peoples’ distant memory and a dialogue among the many existences on the planet. The work is an unfolding of the concepts presented in O Silêncio do Mundo (The World’s Silence; 2020), a lecture-performance with Ailton Krenak, and highlights neither the chronological time nor the productivity logic of western society. But rather, an extended time which expands the possibilities of communication between diverse beings, human and non-human. Here, there’s room for transformations and connections between animals, plants, spirits of the forest, rain, wind. Onstage, performers alternate in testimonials, ruminating their own biographies and performing passages, thus blurring the limits of reality and fiction.

HISTORY Outra Margem is a producer with multidisciplinary actions that intertwine theatre, artistic festivals, exhibitions, video projections and book publishing. What stands out is the idea and production of TePI - Theatre and Indigenous Peoples, an artistic action in partnership with original peoples boosting productions envisioning the world reinvention in its creative power. Some shows such as O Silêncio do Mundo (2020), with Ailton Krenak, and Antes do Tempo Existir (2022), were conceived alongside indigenous artists through creative immersions in 2021 and 2022. Outra Margem has also produced the book Teatro e os Povos Indígenas, in co-curatorship with Naine Terena and publisher n-1.

PH OTO FR A N C I O D E H O L A N DA

GENERAL DIRECTION AND CONCEPT Andreia Duarte SCENIC DIRECTION AND DRAMATURGY Andreia Duarte, Kenia Dias and Ricardo Alves Jr. COLLECTIVE CREATION all artists involved, especially Jaider Esbell (in memorian) and Zahy Guajajara, who were present at the first immersion ONSTAGE ARTISTS Andreia Duarte, Denilson Baniwa and Lilly Baniwa DIRECTION ASSISTANT AND LIGHTING Lucas Pradino SOUNTRACK Barulhista SET AND COSTUMES Renato Bolelli COSMOS DESIGN AND PERFORMANCE PAJÉ ONÇA Denilson Baniwa VOICE WORKSHOP Silvana Stein 23

PRODUCTION André Lucena (2021/2022) and Juliana Pautilla (2022/premiere) LOCAL TECHNICAL PRODUCTION Victor Gally (immersion SP Escola de Teatro) and Will Zimolo (immersion Biblioteca Mário de Andrade) VIDEO MAKING AND TECHNICAL COORDINATOR Rodrigo Gava PHOTOS Amanda Dafoe, Francio de Holanda and Ricardo Alves Jr. VISUAL COMMUNICATION AND WEBSITE Casaplanta_Amanda Dafoe COMMUNICATION Luna Rosa and Olívia Maia CATERING Cléria de Oliveira Moura PARTNERSHIP Casaplanta, Móbili, SP Escola de Teatro and Translapas CULTURAL SUPPORT Goethe-Institut and Biblioteca Mário de Andrade CO-PRESENTED BY Secretaria Municipal de Cultura de São Paulo, through the Aldir Blanc Cultural Emergency Law, and MITsp São Paulo International Theatre Festival PRESENTED BY Outra Margem

“How to explain such a creative and deeply exciting show as O Silêncio do Mundo, according to the concept of Andreia Duarte and Ailton Krenak? The handcraft hammock stretched over the performers’ heads, Ailton’s simplicity and Andreia’s dedication thrilled everyone who was there. Indeed, that night, it was as if we were all gathered around the original fire, listening to the ancestral noise which the silence of the present seeks to destroy.”

ANTONIO HOHLFELDT, Jornal do Comércio

PH OTO R I C A R D O A LV E S J R .

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25

premiere

26

history of the eye – a porn-noir fairy tale história do olho – um conto de fadas pornô-noir

Janaina Leite BRAZIL, 2022 | 180min (with 20min intermission) | PARENTAL RATING 18+

Teatro Paulo Eiró 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT

5 SUN

9 THU

10 FRI 8pm

11 SAT 8pm

12 SUN 6pm

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

In a free adaptation of the novel History of the Eye, by Georges Bataille, Janaina Leite investigates the relationship between theatre and pornography, a recurring theme in her recent shows, in which it is claimed as a scenic art. A hybrid between fiction and non-fiction, Story of the Eye - A Porn-noir Fairy Tale mixes 13 performers, some amateur and sex workers including a porn actor, a camboy, and a camgirl. With the collaboration of erotic film director Lara Duarte and multi-artist André Medeiros Martins, who performs works on art and pornography on different platforms, the play follows the structure of the book to tell, in fairy tale settings, the story of three teenagers in their sexual discoveries. During intermezzo, the audience watches a gig with live music and performances. Between the blatant theatricality and the explicit of pornography, the show recreates this fable noir among the vulgar and the sublime, mundane and cosmic, ordinary and abyssal.

HISTORY Janaina Leite is an actress, director and playwright. She is one of the founders of the award-winning Grupo XIX de Teatro de São Paulo, with whom she created several awarded shows touring the country and abroad. Besides her work with the group, she has conceived the shows Festa de Separação: Um Documentário Cênico, Conversas com Meu Pai, Stabat Mater and the online performance Camming 101 Noites. She is the author of Autoescrituras Performativas: Do Diário à Cena (Perspectiva Publisher). Janaina was the researcher in focus at MITsp 2020.

Currently, besides the show Story of the Eye – A Porn-noir Fairy Tale”, she is part of the program of Latin American playwrights included in the Bombom Gesell project based in Buenos Aires and is one of the Brazilian artists commissioned by MITsp & Edinburgh International Festival to create an unprecedented online work for the 2023 edition of The Edinburgh Festival.

PH OTO C AC Á B E R N A R D E S

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ORIGINAL IDEA, DIRECTION,

Cultural da Diversidade

DRAMATURGY AND PERFORMANCE

CO-PRODUCTION MITsp - São Paulo

Janaina Leite

International Theatre Festival

DRAMATURGS AND ASSISTANT

PRESENTED BY 13° Prêmio Zé Renato de

DIRECTORS Lara Duarte and André

Teatro para a Cidade de São Paulo

Medeiros Martins PERFORMERS André Medeiros Martins, Anita Saltiel, Armr’Ore Erormray, Carô Calsone, Cusko, Dadu Figlioulo, Georgia Vitrilis, Isabel Soares, Lucas Scudellari, Ultra Martini, Vinithekid and Tadzio Veiga ORIGINAL SCORES AND PERFORMANCE André Medeiros Martins, Ultra Martini and Vinithekid LIGHTING DESIGN Wagner Antônio COSTUMES Melina Schleder BODY WORK Lara Duarte ARRANGEMENTS AND SOUND DESIGN Renato Navarro MUSICAL PRODUCTION Mateus Capelo SUSPENSIONS Pombo Morcego, Blue Mermaid and guest performers ARTICULATED MANNEQUIN DESIGN Tadzio Veiga CENOTECHNICIAN Edson Luna PRODUCTION DIRECTION Carla Estefan PRODUCTION ASSISTANTS Samuel Rodrigues and Letícia Karen STAGE MANAGEMENT Cusko LIVE SOUND OPERATION Vinithekid SOUND TECHNICIAN Renato Navarro

“More often, an artwork is a rare thing, because to exist is not enough the intention to create it. It is necessary to reach the intensity of a blooming presence, which emerges as a beautiful thing in itself, and excels in the surrounding visual-audible-livebanal ocean (opposed to inventions and ruptures) as living matter, which enlivens and pushes us. The artworks are the pulsating life and the risk that this pulsation takes. They rely on the courage to look and see, and return to say and present saying and showing.

Janaina Leite explores deep regions such as speleologists, astronauts, divers and microbiologists. As a poet, she also navigates in the fate of the research in progress, in losses and winnings, stumbles and pathetic shocks.”

LUIZ FERNANDO RAMOS, University of São Paulo

LIGHT OPERATOR Felipe Tchaça COLLABORATION Eliane Robert Moraes, Christine Greiner, Biaggio Pecorelli, Bruna Kury, Ediyporn, Beto Profeta, Artur Kon and Rodolfo Valente.

PR Frederico Paula/Nossa Senhora da Pauta PHOTOS Cacá Bernardes GRAPHIC DESIGN Sato do Brasil SOCIAL MEDIA André Medeiros Martins PROJECT MANAGEMENT, PRODUCTION AND PROMOTION Metro Gestão Cultural SUPPORTED BY Teatro Mars and Centro 28

“Placing yourself in a situation of production of porn-related images can be a way of reversing or even subverting the myth of female passivity, by having the body and not only discourse taking part of it. A fundamental desecration.”

DANIELE ÁVILA SMALL, Questão de Crítica, on Stabat Mater

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premiere

30

a garden to educate beasts

um jardim para educar as bestas

Eduardo Okamoto, Isa Kopelman, Marcelo Onofri and Daniele Sampaio BRAZIL, 2022 | 55min | PARENTAL RATING 12+

Biblioteca Mário de Andrade 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT 5pm

5 SUN 5pm

9 THU

10 FRI

11 SAT 5pm

12 SUN 5pm

Free | Tickets are available one hour before the show

Duo for piano and performance, the show allegorically rewrites A Lenda do Oleiro Saburo e da Senhora Fuyu, one of the stories of the book Homens Imprudentemente Poéticos, by Valter Hugo Mãe. Originally set in Japan, the plot is bridged to the Brazilian backwoods and dialogues with texts by Ariano Suassuna, Guimarães Rosa and Euclides da Cunha. Alternating narration, character play, movement and music, the piece tells the fable of Mr. Inhês, who hears the prediction of a hungry animal that would cross the woods to kill his wife. He then decides to build a garden to encourage meditation on emptiness and its beauty, a kind of indoctrination of void. Thus, animals would learn pity by the fear of contact with the “hollow echo” existing in the world and in each one of us.

HISTORY Eduardo Okamoto is an actor, graduated in performing arts, MA and PhD in arts from Unicamp, where he teaches. Twice nominated for the Shell Award (2009/2012), he received the APCA Awards (2012) and Best Male Performance at the Agadir International Festival of Body Expression, Theatre and Dance (2008), in Morocco.

Isa Kopelman is an actress, director, playwright, translator and theatrical researcher.

Graduated in Letters-English at the Faculty of Philosophy, Sciences and Languages (PUC) and at Escola de Arte Dramática (USP), she is a professor in the Performing Arts Department at Unicamp.

Marcelo Onofri is a pianist, singer, composer, arranger. He studied at Escola de Música de Brasília, at Conservatório Carlos Gomes, Unicamp and the Vienna School of Music (Austria). He conducted the JedwederKüchenChor, was a music director at Serapions Theatre and was an actor and composer at Studio-BühneVillach (Austria). He’s a professor in the Performing Arts Department at Unicamp.

Daniele Sampaio is a producer, curator, cultural policy researcher and founder of SIM! Cultura. PhD candidate in performing arts at USP and author of Invisible Agents and Production Modes in the First Years of the Jerzy Grotowski Workcenter (2020) and Elaboration of Projects for the Development of Agents and Agendas (2021), both by Javali publisher.

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CREATED BY Eduardo Okamoto, Isa Kopelman, Marcelo Onofri and Daniele Sampaio, with the collaboration of Yumiko Yoshioka, Nina Pires, Fernando Stankuns, Binho Signorelli and Yasmim Amorim, PR by Adriana Monteiro | Oficio das Letras and production SIM! Cultura.

THIS SHOW IS SUPPORTED BY FAPESP - FUNDAÇÃO DE AMPARO À PESQUISA DO ESTADO DE SÃO PAULO, THE JAPAN FOUNDATION AND FAEPEX - FUNDAÇÃO DE AMPARO À PESQUISA, AO ENSINO E À EXTENSÃO DA UNIVERSIDADE ESTADUAL DE CAMPINAS

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hammer and sickle le marteau et la faucille

Julien Gosselin FRANCE, 2019 | 60min | PARENTAL RATING 14+

Teatro Paulo Eiró 6 MON

7 TUE

8 WED

2 THU

3 FRI 9pm

4 SAT 9pm

5 SUN 8pm

9 THU

10 FRI

11 SAT

12 SUN

R$ 40 and R$ 20 (half-price) | Box office: opens on the day of the performance, one hour before the show

Adapted from the namesake short story by North-American Don DeLillo, the show is a critical allegory to capitalism extravagance. In a place resembling a recording studio, all covered in red light, we follow Jerold Bradway, a former trader who lives in a prison, or in what appears to be a detention facility for white-collar crimes, full of bankers and art dealers who have misappropriated fortunes. They keep immersed in loneliness, and the only power they have left is to recall their lost lives. Originally presented as an interlude to the nearly tenhour marathon of Joueurs, Mao II et Les Noms, Julien Gosselin’s enacting of DeLillo’s novels, Hammer and Sickle soon became an independent work. Onstage, we see actor Joseph Drouet narrate, with a single breath, Bradway’s stream of consciousness and the roll of characters pervading it. His speech, a mix of absurdity, fantasy and anguish, discusses possession and loss, the fragility of men, in their dreams and bonds, and despair.

HISTORY Julien Gosselin studied at EPSAD, the Lille School of Dramatic Art, directed

by Stuart Seide. In 2009, with six other actors of his class, he founded the company Si Vous Pouviez Lécher Mon Coeur (SVPLMC) and, in 2010, directed Genoa 01, by Fausto Paravidino. In 2011, he directed the French premiere of Anja Hilling’s Tristesse Animal Noir. Among his shows are Les Particules Élémentaires, by Michel Houellebecq, which premiered at the 2013 Festival d’Avignon; Je Ne Vous Ai Jamais Aimés (2014), a short play based on a text by Pascal Bouaziz; Le Père de Stéphanie Chaillou (2015); 2666, adapted from Roberto Bolaño’s book series and premiered in Avignon in 2015; 1993, created at the 2017 Festival de Marseille, from a text by Aurélien Bellanger. For the Avignon 2018 edition, he adapted and directed three novels by North-American Don DeLillo: Joueurs, Mao II, Les Noms. Invited by the Amsterdam International Theatre, he kept his work on DeLillo, adapting Falling Man in 2019. As part of the Printemps des Comédiens in Montpellier, he created Hammer and Sickle (2010), also

by DeLillo. In 2022, Gosselin and Si Vous Pouviez Lécher Mon Coeur will settle in Calais, a port city in northern France.

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TEXT Don DeLillo TRANSLATION Marianne Véron ADAPTATION AND STAGE DIRECTING Julien Gosselin WITH Joseph Drouet SCENOGRAPHER Hubert Colas, assistance

by Andréa Baglione STAGE DIRECTOR ASSISTANT Maxence Vandevelde MUSICAL CREATION Guillaume Bachelé and Maxence Vandevelde LIGHTING DESIGNER Nicolas Joubert VIDEO DESIGNER Pierre Martin SOUND DESIGNER Julien Feryn COSTUMES Caroline Tavernier ADMINISTRATION, PRODUCTION & DISTRIBUTION Eugénie Tesson TOUR ORGANISATION & COMMUNICATION Emmanuel Mourmant ADMINISTRATION ASSISTANT Paul Lacour-Lebouvier TECHNICAL DIRECTOR Nicolas Ahssaine TECHNICAL DIRECTOR ASSISTANT Vianney Brunin The adaptation of Hammer and Sickle is represented in French-speaking countries

by Dominique Christophe, l’Agence, Paris, in agreement with Abrams Artists & The Wallace Literary Agency, New York. Text published by Editions Actes Sud PRODUCTION Si Vous Pouviez Lécher Mon Coeur DELEGATED PRODUCTION Le Printemps des Comédiens COPRODUCTION Printemps des comédiens Montpellier, Maison de la Culture de Bourges, CCAM Vandoeuvre-les-Nancy, Romaeuropa (coproduction in progress) Si Vous Pouviez Lécher Mon Coeur is under contract with the Ministère de la Culture et de la Communication, DRAC Hauts-de-France, and agreed by the Hauts-de-France Region.

The company benefits from the support of the Institut Français for its tours abroad.

Julien Gosselin et Si Vous Pouviez Lécher Mon Coeur are partners of the Phénix, Scène 36

Nationale in résidence in Valenciennes and of the Théâtre National de Strasbourg.

Created at Printemps des Comédiens, Montpellier, May 2019.

“With few elements on stage, Julien Gosselin is able to translate this smart text with impressive mastery. It’s not easy to own the message from start to finish or follow the thread, but that’s not the point. Reality becomes a void, and the audience is both seduced and submerged by this whirlwind of numbers, but also by the fragility of these men who have lost everything and have nothing else to hold on to except a few memory scraps. How not to see them as zombies, bound to life only by a few pieces of a remnant of humanity: the image of a woman, her beauty, her smell, the laughter of children, a house. All this will never happen again.”

PIERRE SALLES, Le Bruit du Off Tribune

“When it comes to diving into the stinky guts of North-American society, what Bradway properly calls “the fumes of everlasting free enterprise”, no one beats DeLillo. But it is important noticing that Gosselin didn’t limit himself to make the text intelligible.

First of all, due to the great quality of the short story adaptation, particularly with regard to the integration of dialogue with the monologue itself, but also because he orchestrated onstage a work which components mix or oppose wonderfully. Some people will be driven, others paralysed by anguish, but for this escalating of sounds and voices, ideas and images, colours and lights, very few will remain insensitive.”

CHRISTIAN SAINT-PIERRE, Le Devoir

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premiere

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tragedy and perspective I – the pleasure of not agreeing

tragédia e perspectiva I - o prazer de não estar de acordo

Alexandre Dal Farra, Lisandro Rodríguez ARGENTINA, BRAZIL, 2022 | 85min | PARENTAL RATING 16+

Galpão do Folias 6 MON 8pm

7 TUE 8pm

8 WED 8pm

2 THU

3 FRI

4 SAT

5 SUN

9 THU 8pm

10 FRI 8pm

11 SAT 8pm

12 SUN 8pm

R$ 40 and R$ 20 (half-price) | Box office: opens on the day of the performance, one hour before the show

Tragedy and Perspective I - The Pleasure of Not Agreeing is a production by MITsp that brings together Brazilian author Alexandre Dal Farra and the Argentine director Lisandro Rodríguez.

Digging for ideas, five people find themselves around a bottle of water. They are let down individuals, as if buried alive in their claustrophobic atmosphere. There, they talk and check their positions and disagreements, change positions, find things about themselves and about others, commit crimes and love each other, but no one ever excludes anybody. It is a play about language, an ode to the ability to sustain divergence, to experience disagreement without the need to annihilate the other. The process was launched in the last on-site edition of MITsp in 2020, and continued online throughout the pandemic.

HISTORY Alexandre Dal Farra is a playwright, director, writer, PhD in Performing Arts from the University of São Paulo. He has won and was nominated several times for the main Brazilian awards. He had texts translated and staged abroad. In 2001, he started the group Tablado de Arruar, with whom he created 19 shows and interventions to date. Also awarded and with an international career, Lisandro Rodriguez is a director, actor and playwright born in Quilmes, Argentina. In 2004, he founded the theatre, film and music studio Elefante Club de Teatro (later renamed Estudio Los Vidrios), in Buenos Aires, where he produces and presents much of his work. Lisandro Rodríguez and Alexandre Dal Farra worked together for the first time when Lisandro was directing Abnegação 3, written by Dal Farra, which was presented at the 3rd International Dramaturgy Festival in 2018, and then at FIBA 2019, at Los Vidrios studio in Buenos Aires, Lisandro Rodrígues’ workplace. From there the work unfolded for more constant research; Tragedy and Perspective I - The Pleasure of Not Agreeing which they now carry out as the start of a joint work with future developments.

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A WORK OF Alexandre Dal Farra and Lisandro Rodríguez PERFORMERS Aldo Bueno, Pedro Guilherme, Flow Kountouriotis, Rodrigo Bianchini, Rafael Sousa Silva MUSIC Guillermo Rodríguez SET AND LIGHTING DESIGN Matías Sendón PRODUCTION AND TECHNICAL COORDINATION Fernanda Guedella ASSISTANT DIRECTORS Leila Monsegur and Romulo Alexis CENOTECHNICIAN Wanderley Wagner da Silva LIGHT AND SOUND OPERATION Fagner Lourenço

“If the classical and dramatic theatre knew how to play with the illusion, Rodríguez seems to go against this complex artifice, until the moment he displays it: in this case, a sudden change of light reveals what was always there and the audience could not watch; a way of talking about our own political blindness, from which, as individuals (or as family agents), we impose an unavoidable destiny to society. But Rodríguez enacts it, this time in the hands of Dal Farra.”

FEDERICO IRAZÁBEL, La Nación, on Abnegação 3

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uncanny valley unheimliches tal

Rimini Protokoll GERMANY, 2019 | 60min | PARENTAL RATING FREE 2 THU

Sesc Belenzinho 6 MON

7 TUE

8 WED 9pm

9 THU 9pm

3 FRI

4 SAT

10 FRI 11 SAT 5pm - 9pm 5pm - 9pm

5 SUN 12 SUN

R$ 40 and R$ 20 (half-price) | Box office: Tuesday to Saturday, from 9am to 9pm; Sunday, from 9am to 6pm. Each person can buy up to four tickets.

“Uncanny Valley” is an expression created by Japanese scientist Masahiro Mori to designate, within the robotic engineering area, the dislike people feel towards robots very similar to real people. According to this hypothesis, the similarity of robots to humans is welcome to some extent, of which it starts causing us disgust or fear. In this show by group Rimini Protokoll, director Stefan Kaegi worked with writer Thomas Melle in the creation of an animatronic which intends to be a copy of the author. Onstage, the robot delivers a lecture on topics such as bipolarity, technology and the ability of copies to help humans or not. The title points to both Silicon Valley and the Freudian idea of Unheimliche, the stranger that seems familiar to us. The valley is also the curvy shape in the graph presented by Mori explaining his ideas. At the end of the show, the audience can approach the robot to see it up close.

HISTORY Stefan Kaegi is the author of documentary pieces, audio-interventions, curatorship and works in the urban environment in diverse collaborative partnerships. Using research, public hearings and conceptual processes, he often gives voice to “experts” who are not trained actors but have something to say. With Helgard Haug and Daniel Wetzel, Kaegi founded the group Rimini Protokoll, which since the year 2000 works with documentary theatre aided by technology.

At MITsp, they presented in 2016 the show 100% São Paulo. In 2019, the group created the show Uncanny Valley alongside German writer Thomas Melle, author of Die Welt im Rücken (The World on the Back), in which he addresses bipolar disorder with an autobiographical bias.

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CONCEPT, TEXT & DIRECTION Stefan Kaegi TEXT / BODY / VOICE Thomas Melle EQUIPMENT Evi Bauer ANIMATRONIC Chiscreatures Filmeffects GmbH MANUFACTURING AND ART FINISH OF THE SILICONE HEAD / COLORATION AND HAIR Tommy Opatz DRAMATURGY Martin Valdés-Stauber VIDEO DESIGN Mikko Gaestel MUSIK Nicolas Neecke PRODUCTION MANAGEMENT Rimini Protokoll TOURING Epona Hamdan and Monica Ferrari LIGHT DESIGN/ TOURING Robert Läßig, Martin Schwemin, Lisa Eßwein 43

SOUND AND VIDEO DESIGN/ TOURING Jaromir Zezula, Nikolas Neecke and Manuela Schinina VOICE OF SIMULTANEOUS INTERPRETING Ronaldo Lemos

Supported by: This play from Rimini Protokoll has originally been produced by the Münchner Kammerspiele, in coproduction with Berliner Festspiele Immersion, donaufestival (Krems), Feodor Elutine (Moscow), FOG Triennale Milano Performing Arts (Milano), Temporada Alta - Festival de Tador de Catalunya (Girona), SPRING Utrecht.

PERFORMING RIGHTS Rowohlt Theater Verlag, Reinbek bei Hamburg THIS SHOW IS SUPPORTED BY THE GERMAN FEDERAL FOREIGN OFFICE AND THE GOETHE-INSTITUT SÃO PAULO.

“The performance is a lecture on instability. It takes up the problem of the ‘uncanny valley’, roboticist Masahiro Mori’s term for the cliff-edge of likeability that people perceive in inanimate objects when they appear nearly (though not completely) human. The piece explores Melle’s own experience of bipolarity as a ‘somewhat damaged mechanism’ and his notion of Alan Turing as ‘a tragic computer’. Melle considers instability as the defining human feature, improved upon by the stability of the machine, while the android replica represents a compensatory prosthesis, ‘experienced and newborn at the same time’. The phrase recalls Mori’s belief in what he called the ‘Buddha Nature’ of robots.”

SAM WILLIAMS, Frieze

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“It’s the fingers that get to me. Bitten and weathered, the skin worn down in places, they are incredibly detailed and utterly convincing. I’m looking up close at an animatronic, or robot, of the German writer Thomas Melle. The show proper – a lecture delivered by this robot – has finished and the audience has been invited on stage to study our automated actor. It feels like viewing time at the zoo and I can’t shake the feeling that this robot is somehow going to wake up, reach out and grab me.”

MIRIAM GILLINSON, The Guardian

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mitbr | brazil platform

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ances ancés

Tieta Macau BRAZIL, 2017 | 45min | PARENTAL RATING FREE

Teatro Arthur Azevedo Sala Multiuso 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT

5 SUN

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).

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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."

D.C., Terremoto 50

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deferred judgement

despacho deferido

Jaqueline Elesbão/Coletivo Pico Preto BRAZIL, 2021 | 34min | PARENTAL RATING 16+

Teatro Arthur Azevedo 6 MON

7 TUE

8 WED 6pm

2 THU

3 FRI

4 SAT

5 SUN

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.

PH OTO L I Z S A N TA N A

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

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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.

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a.l.s.o e.l.a

Jéssica Teixeira BRAZIL, 2019 | 70min | PARENTAL RATING 14+

Teatro João Caetano 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT

5 SUN

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

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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?

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they practice contemporary dance

eles fazem dança contemporânea

Leandro Souza BRAZIL, 2019 | 40min | PARENTAL RATING 16+

Teatro Arthur Azevedo Sala Multiuso 6 MON

7 TUE

8 WED 7pm

2 THU

3 FRI

4 SAT

5 SUN

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.

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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?”

RENAN MARCONDES, Pérfida Iguana 62

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fortaleza Cia. Dita

BRAZIL, 2019 | 40min | PARENTAL RATING 18+

Teatro Arthur Azevedo 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT

5 SUN

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.

PH OTO R EG I S A M O R A

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

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“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.”

RÔMULO COSTA, Diário do Nordeste 66

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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 6 MON

7 TUE

8 WED

2 THU

3 FRI

4 SAT

5 SUN

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.

PH OTO N I T YA M A M AC R I N I

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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.”

MARCOS ALEXANDRE, Horizonte da Cena 70

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rough lock trava bruta

Leonarda Glück BRAZIL, 2021 | 70min | PARENTAL RATING 18+

Teatro João Caetano 6 MON

7 TUE

8 WED 9pm

2 THU

3 FRI

4 SAT

5 SUN

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.

PH OTO A L E S S A N D R A H A RO

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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

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critical regards MITsp reflective axis proposes a discussion about performing arts and contemporaneity based on panels with thinkers and researchers from different areas, in addition to the publication of reviews, articles and interviews.

CURATORSHIP Julia Guimarães and

José Fernando Peixoto de Azevedo

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aesthetic-political reflections FROM “LIVE” TO ALIVE: THEATRE AND IMAGINATION, RUIN, AND INSURGENCIES How to understand the narrative tensions existing today when establishing the common? What are the powers of art to act on the context of grief and struggle going through recent Brazilian experience? This seminar debates the production and contradictions of language and culture in contemporary Brazil.

open classes

Lectures held by thinkers from different areas, in dialogue with the themes crossing the seminar of aesthetic-political reflections.

THE EDGES BETWEEN ORGANIC KNOWLEDGE AND SYNTHETIC KNOWLEDGE June 7th, Tuesday, from 7pm to 9pm Biblioteca Mário de Andrade WITH Nego Bispo Organic knowledge is the one engaging to make up the world of Being. Synthetic knowledge is the one developing to make up the world of Having.

Antônio Bispo dos Santos dos Santos is a writer, quilombola master, farmer, taught by crafts masters. He wrote articles, poems, and the books Quilombos, Modes and Meanings (2007) and Colonization, Quilombos: Modes and Meanings (2015). A political activist and militant of great expression in the quilombola social movement and in fight for land movements, he is a member of both National and Piauí State Coordination of Quilombola Communities.

ABOUT EXHAUSTION - A READING OF SUBJECTIVITY June 8th, Wednesday, from 2pm to 4pm MITsp’ YouTube channel WITH Denise Ferreira da Silva Open and online class reflecting on how time, the privileged modern ethical context, operates as an instance of power not dissimilar to other appropriation mechanisms aiming at assimilating economic value.

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Denise Ferreira da Silva is the author of Towards a Global Idea of Race (2007), The Priceless Debt (2019), Unpayable Debt (2022). Her many articles have been published in major interdisciplinary journals, such as Social Text, TC&S, PhiloSOPHIA, Griffith Law Review, Theory & Event. Her works include the films Serpent Rain (2016) and 4Waters-Deep Implicancy (2018), in collaboration with Arjuna Neuman; and the relational art practices Poethical Readings and Sensing Salon, in collaboration with Valentina Desideri.

seminar

PANEL 1 MY COUNTRY IS MY PLACE OF SPEECH: DESTRUCTION AND LANGUAGE June 4th, Saturday, from 2pm to 5pm Itaú Cultural

WITH Babalorixá Sidnei Nogueira de Xangô, João Cézar Rocha and Silvia Viana MEDIATION Rosane Borges What are the relations between language and current Brazilian public life? How to understand the narrative tensions existing today when establishing the common?

Language, as a decisive aspect of experience, emerges at the same time as a symptom and weapon. And it is also by language that transformation is disclosed.

Babalorixá Sidnei de Xangô holds a PhD and Master’s degree in Semiotics and General Linguistics from FFLCH-USP/SP, Babalorixá da CCRIAS - Comunidade da Compreensão Ilê Axé Xangô- SP, writer, decolonial black thinker and director of Institute Ilê Ará-SP. João Cezar de Castro Rocha is Full Professor of Comparative Literature at UERJ and researcher at CNPq. Author of 13 books and organizer of 30 titles. His works have been translated into Mandarin, English, Spanish, French, Italian and German.

Silvia Viana is a PhD from the Faculty of Philosophy, Languages and Literature, and Human Sciences of USP, conducts research on cultural criticism and critical theory, professor at Getúlio Vargas Foundation (SP) and author of the book Rituals of Suffering.

Rosane Borges is a journalist, collaborating professor at DIversitas (FFLCH-USP), researcher at ECA-USP, writer of IstoÉ Magazine. Author of several books, among which are Infidel Mirror: the Black in Brazilian Journalism (2004), Media and Racism (2012), Sketches of a Present Time (2016) and Fragments of the Present Time (2021).

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PANEL 2 PRESENT DEVELOPMENTS: DEATH POLICIES AND POLITICAL IMAGINATION June 5th, Sunday, from 2pm to 5pm Itaú Cultural

WITH Aldri Anunciação, Casé Angatu and Fabio Luís Franco MEDIATION Rosane Borges Ruling the living has proved to be a form of death management. In a context where struggle and grief are not only lexical slips, what forms of life that, in work of resistance, design other temporalities beyond the present’s immediate future? What are the forces of art and culture to deal with the traumatic dimension that runs through the recent Brazilian experience?

Aldri Anunciação, the winner of Literature Jabuti Prize (2013), is a playwright, screenwriter and actor. Published The Trilogy of Confinement (Perspectiva), in 2020. Best Actor at the Brasilia Film Festival (2018). Best Screenplay at Memphis Indie Film Festival in the USA and Best Screenplay Award at Huelva Festival-Spain for the film Medida Provisória directed by Lázaro Ramos. PhD with the thesis The Poetics of Disagreement: Self-decolonization of the Author Through the Decolonization of the Fictional Character” (PPGAC-UFBA) Fábio Luís Franco is a psychoanalyst and PhD in Philosophy (USP). He conducts postdoctoral research linked to the International Research Group on Authoritarianism and Counter-Strategy, of Rosa-Luxemburg-Stiftung, and to Institute of Psychology of USP. Currently, he is a researcher at Laboratory of Social Theory, Philosophy and Psychoanalysis (LATESFIP-USP) and guest professor at PUC-SP. He is the author of the book Ruling the dead: necropolitics, disappearance and subjectivity (Ubu).

Casé Angatu is an Indigenous from Tupinambá Olivença Territory (Ilhéus/BA) - Taba Gwarïnï Atã, Associate Professor at the Graduate Program in Teaching/Ethnic-Racial Relations of the Federal University of South of Bahia (PPGER/UFSB) and at the State University Santa Cruz (UESC - Ilhéus); Post-Doctoral Student in Psychology at Unesp/ Assis; PhD from FAU/USP; MA in History from PUC/SP; Historian graduated at Unesp; Author of the book: Not All Was Italian: São Paulo and Poverty (Fapesp/Annablume) and Co-author of the book Indigenous in Brazil: Life, Culture and Death (Intermeios), among other publications.

Rosane Borges is a journalist, collaborating professor at DIversitas (FFLCH-USP), researcher at ECA-USP, writer of IstoÉ Magazine. Author of several books, among which are Infidel Mirror: the Black in Brazilian Journalism (2004), Media and Racism (2012), Sketches of a Present Time (2016) and Fragments of the Present Time (2021).

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panels Reflection activities carried out around the MITsp Program, hosted by the creators of the works and researchers from other areas of knowledge.

cross-cultural dialogues Critical reflections carried out in dialogue with the public. Guests from different fields of knowledge take a cross-cultural view in order to cross borders and expand the readings of the works in focus.

MEDIATION Maria Lúcia Pupo and Conrado Dess Maria Lúcia Pupo is Full Professor at the Department of Performing Arts of the School of Communications and Arts (USP) and productivity fellow CNPq. She works especially in undergraduate training and guides master’s and doctoral research in Performing Arts Pedagogy, publishing books and articles in this area. Developed research and taught in several Brazilian cities, as well as in France and Morocco.

Conrado Dess is a researcher, theatre director, playwright and PhD student in Performing Arts at the School of Communications and Arts at USP. He holds a Bachelor’s and MA degree in Performing Arts from the same institution, with the dissertation Representations and Representativeness in the Contemporary Scene: Notes on an Aesthetic, Political and Social Crossing, supervised by Sílvia Fernandes.

During his master’s degree, he did a research internship at Consejo Superior de Investigaciones Científicas (Madrid - Spain), supervised by researcher Óscar Cornago.

He researches the relations between theatre and race, focusing on themes such as: black theatres, black representation in contemporary scene and aesthetic, political and social implications caused by the presence of non-hegemonic bodies in the scene.

HAMMER AND SICKLE

June 5th, Sunday, after the show Teatro Paulo Eiró WITH Rita von Hunty MEDIATION Conrado Dess Rita von Hunty is the drag persona of actor and teacher Guilherme Terreri. With a degree in performing arts from Unirio and English Language and Literature from USP, Rita develops art-education work focused on the debate of social issues through Culture Studies. She performs in film, theatre, presents a TV show aired throughout Latin America (Drag Me As A Queen - NBCU) and has a YouTube channel, Tempero Drag, with one million subscribers.

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UNCANNY VALLEY

June 9th, Thursday, after the show Sesc Belenzinho WITH Giselle Beiguelman MEDIATION Conrado Dess Giselle Beiguelman is an artist and professor at the School of Architecture and Urbanism at USP. She researches art and activism in the networked city and the aesthetics of memory in contemporary times. She wrote Policies of Image: Surveillance and Resistance in the Datasphere (UBU, 2021), Memory of Amnesia: Policies of Oblivion (SESC, 2019), among others. Her artistic works are part of collections of museums in Brazil and abroad, such as ZKM (Germany), Jewish Museum Berlin, MAC-USP and Pinacoteca de São Paulo. She has received several national and international awards, such as the ABCA Award 2016, from the Brazilian Association of Art Critics and The Intelligent Museum, with Bruno Moreschi and Bernardo Fontes, promoted by ZKM and Deutsches Museum (2021).

thought-in-process + cross-cultural dialogues Guests from different fields of knowledge take a cross-cultural view about the festival’s shows, in dialogue with the artists and with the audience. Reflections on the creation process are developed from the reading of the works in focus.

STADIUM

June 3rd, Friday, from 4pm to 6pm Itaú Cultural WITH Mohamed El Khatib and Christian Dunker MEDIATION Maria Lúcia Pupo Mohamed El Khatib is an actor, director and writer born in Orleans, France, in 1980.

He is an associated artist at Théâtre de la Ville de Paris, at Centre Dramatique National de Tours – Théâtre Olympia and at Théâtre National de Bretagne – Centre Européen Théâtral et Chorégraphique. In 2008, he was one of the founders of Zirlib collective, the result of a gathering of authors, actors, researchers, dancers, cameramen and musicians from different backgrounds. The group sees contemporary creation as an experience, a gesture in which the most demanding aesthetic dimension can be confronted day-today. This is the second time of El Khatib at MITsp. In 2019, he presented the show Finir en Beauté.

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Christian Dunker is a psychoanalyst and Full Professor at the Institute of Psychology at USP, with the Department of Clinical Psychology. He obtained the Associate Professor title in Clinical Psychology after his Post-Doctorate at Manchester Metropolitan University. He is a Member Analyst of the Psychoanalysis School of the Lacanian Field Forum and coordinator of the Laboratory of Social Theory, Philosophy and Psychoanalysis at USP. Twice awarded the Jabuti Prize for Structure and Constitution of the Psychoanalytic Clinic (Annablume, 2010) and Malaise, Suffering and Symptom (Boitempo, 2015) and co-author of The Clown and the Psychoanalyst - How Listening to Others Can Transform Lives (Planeta, 2019).

TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING June 9th, Thursday, from 4pm to 6pm Itaú Cultural

WITH Lisandro Rodríguez, Alexandre Dal Farra and José Antonio Pasta Jr. MEDIATION Conrado Dess Alexandre Dal Farra is a playwright, director, writer, PhD in Performing Arts from USP. He has won and was nominated several times for the main Brazilian awards. He had texts translated and staged abroad. In 2001, he started the group Tablado de Arruar, with whom he created 19 shows and interventions to date.

Lisandro Rodríguez is a director, actor and playwright born in Quilmes, Argentina.

In 2004, he founded the theatre, film and music studio Elefante Club de Teatro (later renamed Estudio Los Vidrios), in Buenos Aires, where he produces and presents much of his work.

José Antonio Pasta Júnior is an Associate Professor and Senior Professor of Brazilian Literature at USP, with a PhD in the same area and a MA in Literary Theory and Comparative Literature from USP. He completed his post-doctorate at the École des Hautes Études en Sciences Sociales de Paris. Author of important essays on literature, theatre, culture and society, among them the book Work by Brecht.

HISTORY OF THE EYE - A PORN-NOIR FAIRY TALE June 11th, Saturday, from 4pm to 6pm Teatro Paulo Eiró

WITH Amara Moira, Janaína Leite and performers MEDIATION Júlia Guimarães Amara Moira is a transvestite, feminist, PhD in literary theory and criticism from Unicamp (with thesis on James Joyce’s Ulysses) and wrote What if I Were a Whore (hoo, 2016), in which she writes about her experiences as a sex worker, and Neca + 20 Poemetos Travessos (O Sexo da Palavra, 2021), which brings together her monologue in bajubá, the transvestites’ language, and her poetic production on LGBTQIA+ experiences.

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Janaina Leite is an actress, director and playwright. She is one of the founders of the award-winning Grupo XIX de Teatro de São Paulo, with whom she created several awarded shows touring the country and abroad. Besides her work with the group, she has conceived the shows Festa de Separação: Um Documentário Cênico, Conversas com Meu Pai, Stabat Mater and the online performance Camming 101 Noites. She is the author of Performative Self-writings: From Diary to Scene (Perspectiva). Janaina was the researcher in focus at MITsp 2020. Currently, besides the show Story of the Eye – A Porn-noir Fairy Tale, she is part of the program of Latin American playwrights included in the Bombom Gesell project based in Buenos Aires and is one of the Brazilian artists commissioned by MITsp & Edinburgh International Festival to create an unprecedented online work for the 2023 edition of The Edinburgh Festival.

Julia Guimarães is a visiting professor at the Faculty of Languages, Literature and Linguistics at UFMG, in the area of Literature and Theatre. She completed her postdoctorate at the School of Fine Arts (UFMG) and her PhD in Performing Arts at the School of Communications and Arts at USP, where she taught as visiting professor. She is co-organizer of the book Theatre as Public Experience (Hucitec, 2019), editor of the magazines Subtexto (MG), Letras (MG) and website’s Horizonte da Cena podcast. She was a theatre critic in the newspapers O Tempo and Pampulha (BH), on the website Teatrojornal (SP) and in several Brazilian festivals, such as MITsp, FIT-BH and Mirada.

A GARDEN TO EDUCATE BEASTS June 5th, Sunday, after the show Biblioteca Mário de Andrade

WITH Eduardo Okamoto and Cassiano Sydow Quilici MEDIATION José Fernando Peixoto de Azevedo Cassiano Sydow Quilici is an Associate Professor at the Department of Performing Arts at the Institute of Arts of Unicamp, anthropologist and post-doctor in Theatrical Studies at the University of Lisbon, researcher at CNPq, editor of Conceição/ Conception Magazine, author of the books Antonin Artaud: Theatre and Ritual, The Actor-Performer and the Poetics of Self-Transformation, among others and awardwinning playwright. He researches artist training processes from the expanded scene perspective, in dialogue with anthropology, philosophy and traditional knowledge, especially Buddhism.

Eduardo Okamoto is an actor, graduated in performing arts, MA and PhD in arts from Unicamp, where he teaches. Twice nominated for the Shell Award (2009/2012), he received the APCA Awards (2012) and Best Male Performance at the Agadir International Festival of Body Expression, Theatre and Dance (2008), in Morocco.

José Fernando Peixoto de Azevedo is a playwright, screenwriter and director; researcher, curator. He studied film and philosophy; He has a PhD in philosophy with a thesis on the work of Brecht (USP). He is a professor at the School of Dramatic Art and in the Graduate Program in Performing Arts, at the School of Communications and Arts at USP. He was the founder and artistic director of 83

Teatro de Narradores; He wrote and directed works with the group Os Crespos.

He recently directed the pieces Navalha na Carne Negra [Razor in Black Flesh], As Mãos Sujas [The Dirty Hands] and Um Inimigo do Povo [An Enemy of the People].

He has Organised some books and is the author of several published essays; author of I, a Creole, by n-1 publisher. Currently he coordinates the Crossroads book collection, on anti-racist/anti-capitalist thought, by Cobogó publisher.

thought-in-process Panels with artists from MITsp spectacles, who will debate issues of their creative processes.

BEFORE TIME EXISTED

June 11th, Saturday, after the show Teatro Cacilda Becker WITH Andreia Duarte, Denilson and Lilly Baniwa MEDIATION Maria Lúcia Pupo Denilson Baniwa was born in Mariuá, Rio Negro, Amazonas. He is a visual artist and communicator who builds his artistic and social processes from the Amazonian Indigenous Movement and transit through the non-indigenous world.

Lilly Baniwa is an indigenous actress and academic of Performing Arts at the State University of Campinas/Unicamp. Among her last projects stands out the video performance manifesto Lithipokoroda and the Workshop Performatividades Identitárias, both contemplated by Aldir Blanc Law / Amazonas and developed in the city of São Gabriel da Cachoeira.

Andreia Duarte is an actress, curator and artistic director. She spent five years in Xingu Indigenous Area with the Kamayura people, since then she has worked as an ally of the indigenous peoples, completing 20 years of achievements. In her PhD at USP/ECA, she’s researching the intersection between theatre and indigenous peoples. Artistic director of Outra Margem, working on different curatorship and productions, such as TePI - Theatre and the Indigenous Peoples in the format of artistic exhibition and digital platform, among other actions.

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critical practice DAILY REVIEW Daily production of MITsp spectacles’ reviews for electronic media (mitsp.org).

WITH Daniel Guerra (Revista Barril/BA), Guilherme Diniz (Horizonte da Cena/MG), Ierê Papá (CE/SP), Lorenna Rocha (Quarta Parede/PE) and Michele Rolim (AGORA Crítica Teatral/RS - Coordination)

CRITICAL PERSPECTIVES

June 12th, Sunday, from 2pm to 4pm Itaú Cultural The critics who are part of Critical Practice will debate the set of shows presented at MITsp, their effects and the issues on contemporary theatrical scene raised by these works.

Michele Rolim is a journalist, researcher and theatrical critic. PhD student at the Graduate Program in Performing Arts at UFRGS. She has been working in the cultural press since 2009. Editor of AGORA Crítica Teatral website and author of the book What do Performing Arts Curators Think (2017, Cobogó). She is currently the State Culture Advisor of RS. She has participated in several theatre juries. She has been working in performing arts festivals in Brazil.

Daniel Guerra is a critic and artist. Creator, editor and columnist of Revista Barril. He has an MA in Performing Arts and is a PhD student at the Federal University of Bahia (PPGAC-UFBA). He continues to develop theoretically the concept of Scenic Event.

Ierê Papá is an artist, has a degree in Performing Arts from IFCE in Fortaleza/CE, holds a MA degree in Communication and Semiotics and is specialised in Klauss Vianna Technique, both from PUC/SP. Since 2014, he has been part of the Collective Teatro Dodecafônico (SP), where he is a performer and audio video maker.

Lorenna Rocha is a historian (UFPE), researcher and cultural critic. Co-founder of Indeterminações - a platform for criticism and black Brazilian cinema. She is editor and critic of Quarta Parede website. She was copywriter at Revista Cinética (2021) and blog Sessão Aberta (2019-2021). Teaches classes on cinema and theatre criticism and about black theatre and cinema. She is a programmer at the 14th Janela Internacional de Cinema do Recife and the 24th FestCurtas BH.

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Guilherme Diniz is a researcher and theatrical critic. Graduated in Theatre from the School of Fine Arts of the Federal University of Minas Gerais (EBA/UFMG) and MA student in Brazilian Literature from the Faculty of Language, Literature and Linguistics (FALE/UFMG). Collaborator of Horizonte da Cena website. He has done critical coverage for different shows and theatre festivals in Brazil, such as Janela de Dramaturgia (BH), Segunda Black (RJ) and São Paulo International Theatre Festival (SP).

cartografias Interviews and articles of presentation and crossing about MITsp shows for electronic media (www.mitsp.org).

GUEST RESEARCHERS: Artur Kon is an actor and playwright at Cia de Teatro Acidental, created with colleagues in the Performing Arts course at Unicamp. MA and PhD in Philosophy from FFLCH-USP, author of About Theatrecracy: Aesthetics and Politics of Contemporary Theatre in São Paulo (Annablume, 2017) and organizer of books Elfriede Jelinek: From Impotent Text to Impossible Theatre and Cia de Teatro Acidental: Trilogy of Political Affections (both to be published). He currently develops postdoctoral research at ECA-USP. Guilherme Diniz is a researcher and theatrical critic. Graduated in Theatre from the School of Fine Arts of the Federal University of Minas Gerais (EBA/UFMG) and MA student in Brazilian Literature from the Faculty of Language, Literature and Linguistics (FALE/UFMG). Collaborator of Horizonte da Cena website. He has done critical coverage for different shows and theatre festivals in Brazil, such as Janela de Dramaturgia (BH), Segunda Black (RJ) and São Paulo International Theatre Festival (SP).

Luciana Romagnolli is a journalist, critic and theatre curator, founding editor of Horizonte da Cena website and PhD in Performing Arts. She was the curator of FIT-BH 2018 and of MITsp 2017-2020 Critical Regards. Critic coordinator of Janela de Dramaturgia. Author of Today, No? and The Mystery of Eyes Existence.

Sílvia Fernandes is a senior Full Professor in the Graduate Program in Arts of the School of Communications and Arts at USP. She has published several books, including Contemporary Theatricalities (SP, Perspectiva, 2010), Teatro da Vertigem (RJ, Cobogó, 2018), Theatre as Public Experience (organised with Óscar Cornago and Júlia Guimarães, Hucitec, 2019) and Théâtres Brésiliens. Manifestes, Mises en Scène, Dispositifs (organised with Yannick Butel, Aix-Mar).

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educational activities Based on the Affectionsynthesis theme, the activities gathered in this edition undertake theatrical pedagogies that shake human species supremacy towards other forms of life. The proposal is to undergo mineral and vegetative properties of affective corporeality as a vector of nurturing lightforce for the scenic-educational experience of gender-class-race-generational relations.

CURATORSHIP Dodi Leal

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performance educational laboratory Part of the Educational Activities Axis of MITsp, the Performance Educational Laboratory is a space dedicated to the study and experimentation of performance art using Brazilian and foreign sources. The programme articulates theoretical studies with concrete aesthetic actions from collectives, movements, festivals and original artistic works.

ELA

June 9th, Thursday, 3pm Centro Cultural Vila Itororó HER, the thing born in the wrong place. The cell that shoots, grows and kills. HER is the pathos, pathology, death. Vina Amorim’s performance starts from the idea of death as mourning, in a necropolitically structured society. Death is also presented as a bridge to the crossing, as rebirth and transition. Guided poetically by butoh, the artist examines memories, creates images and searches for gaps through which unnameable experiences arise, which can only be expressed through dance. Thus, the performer becomes the curve swerving from the norm. HER is the crossing, the uncertain. HER is what remains after departure, what does not lie and is present in each movement, experiencing the impregnated transit between presence and absence. HER disobeys what was given to her at birth to be undying to us all.

PANEL

After the show The panel aims to question the creative processes in dance in the current Brazilian context, triggered by some poetic sources from the butoh dance and its repercussions. Mourning, death and disease are offered as vanishing points and poles circumscribing a field of poetic forces, allowing the emergence of a dance made of memory traces, made not by conceptual abstractions, but by the weight of flesh.

Unnameable ____ made of flesh, desires and poetry. A dance released by a body full of cracks. A dance, a disease, a death, a crossing... Her. Vina Amorim is a multi-artist, performer, dancer, social provocateur, body researcher, MA student in performing arts. Researches the relations between the butoh dance and disease, death and mourning metaphors. Drifts between the cities of Ouro Preto and Belo Horizonte. Has performed in Portugal, France, Minas Gerais, São Paulo and Santa Catarina. Is an active collaborator of Queerlombos Platform and Antibodies Dance Investigations collective.

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SEARCHED TO BE AFFECTED June 10th, Friday, at 4pm Centro Cultural Vila Itororó

The work is a performative experiment addressing affection in childhood and talking about the trust of a child’s soul who believes in the essence of just existing. A ritual to understand that we can be “affected”.

Efe Godoy is a short-sighted, transvestigender visual artist who researches hybridity in its various languages (video, object, drawing, painting, performance) with an emphasis on childhood memories pieces and impulsive fabulations. Efe Godoy is from Sete Lagoas, lives and works in Belo Horizonte. Strolled the Guignard/UEMG School and kept training in experiences and residencies in Brazil and abroad. Was nominated for the 2022 PIPA contemporary art award.

LOVE LETTERS: DEATH SPIRAL June 11th, Saturday, at 3pm Teatro Oficina

What are love letters? What are the possible loves in these worlds? What bodies have the right to feel and to express this feeling? Who still writes and who still gets love letters? Far from answers, performance is a debate, which may turn into active and collective writing, which may recall the importance of love and its expressions.

Emerson (Uýra), 30 years old, indigenous from Central Amazon. Biologist, master in Ecology, works as a visual artist, art educator and researcher. She lives in Manaus, an industrial district in the heart of the Forest, where she turns into Uýra, a walking tree.

Using the body as a support, tells stories of many Natures via photo-performance and performance. Based on the City-Forest scenery, she is interested in living systems and their violations, as well as decoloniality, memory and indigenous diaspora.

ONE

June 11th, Saturday, at 3:30pm Teatro Oficina ONE is a choreographic experiment merging body, text and music to establish a new understanding of oneself, mending intrinsic ideas and dancing to one’s text creations. Body investigation, invented dances for manifestations of being, dialoguing with non-place sensations, with self-knowledge process and with permissiveness of affection.

Ymoirá Micall is a multidisciplinary artist, transvestite, founder of Cia. Sacana and lives in São Paulo. Originally from Guarulhos, where she started her career developing the first works in theatre and dance with local groups. Not finishing academic training, the artist reorganised professional experiences to merge 90

corporeality and experimental sonorities. As an actress, she has worked with the companies Fuerza Bruta (Buenos Aires) and Barca Cênica (Guarulhos).

ISIS BROKEN INVITES AQUALIEN June 10th, Friday, at 5pm Centro Cultural Vila Itororó

Isis Broken’s new album, Bruxa Cangaceira pocket show, which brings reflections on black and north-eastern transvestite bodies. The presentation lasts around 50 minutes, with the intercession of Aqualien, Isis’ trans man husband.

Isis Broken is a transvestite cangaceira witch, great-granddaughter of a host of Lampião, granddaughter of a repente singer and cordel poet, and singer. Daughter of a teacher and a local newspaper printer, she grew up surrounded by books, with an interest in reading and storytelling. The playful appeal made her seek references in cordel literature and popular culture to express herself through her compositions. Her songs are caustic, politicised and move through rap, trap, repente, prose and pop.

AYÔ TUPINAMBÁ

June 9th, Thursday, at 5pm Centro Cultural Vila Itororó Dores Doces e Amargores is a music and literature work of art portraying the experience of fat black transvestite artist Ayô Tupinambá. With this pocket show, the artist shares the scrutiny of her own history, her body, her emotions, affectivity and sexuality after her transition. Attain the future, be in the present, look at the past and to always sense oneself there, as a transvestite.

Ayô Tupinambá is a transvestite, black, fat, bisexual and from the outskirts, her plurality is also present in singing, theatre and literature arts, she’s also the director and screenwriter of the show Travestis na MPB and released her first single Canto para Sobreviver, on all digital platforms.

ASSUCENA

June 11th, Saturday, at 4pm Teatro Oficina Pocket show by Assucena, featuring songs from the album Minha Voz e Eu. A talk between voice, distortion, melody and technology. Assucena presents her musical intimacy from the study of timbres and sensitive manifestations of her voice. “My voice is my freedom’s concrete and ethereal metaphor,” she says. Through beats, acoustic and electric guitar, the authorial repertoire blends with the tradition of MPB, including names such as Gonzaguinha, Caymmi and Gal. Tradition meets the contemporary.

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Assucena is a singer-songwriter. She became well-known for her work with band As Baías, with which she was nominated twice for the Latin Grammy (2019 | 2020) and won two categories in the 29th Brazilian Music Award. Born and raised in Bahia’s inland, she works her artistic identity based on influences of music from Bahia especially Tropicalism - as well as the most varied aspects of MPB, in compositions and interpretations that dialogue with different rhythms.

workshops MASSAGEAÇO

June 4th and 5th, Saturday and Sunday, from 10am to 1pm Casa do Povo Massageaço is a gathering to learn and exchange massage. The goal is to share techniques and knowledge necessary to apply a structured touch in informal situations.

Crossing art and health, it examines the somatic-political causes that transformed the experience of touch into taboo or trauma for our Westernised bodies. Then, different massage therapy moves and their possible therapeutic effects are experienced in the physiological, affective, ethical and aesthetic dimension.

Danilo Patzdorf is an artist, educator and body researcher. Author of the book About What They Once Called the Body: Corporeality in Digital Environments (Letramento, 2019), is a PhD in Art-education (ECA/USP). Due to the belief that the coolest part of artistic doing is not “showing”, but rather “feeling with”, he’s devoted myself to creating and conducting somatic group experiences to collectively access the extraordinary states of perception of oneself, the other and reality.

Isabela Laynes is a physiotherapist, pain specialist (HCFM/USP), neuroeduACHEtor and MA in Health Sciences from Unifesp. She teaches Anatomy and Western Manual Techniques in the Massage Therapy courses at Senac Aclimação. She’s been working with therapeutic massage for more than 10 years, trying to promote somatosensory integration from the structured touch, besides believing in the subtle touch as a body tool of social transformation.

OF WHAT AFFECTS YOU

June 10th, Friday, from 10am to 12am Casa do Povo This is an experience to get to know people through drawing, the plan here is freedom, rescuing a childhood drawing, not fearing of making mistakes, with no intention of creating the finest drawing in the universe. The idea is to play with authenticity, with real doing, and then express that will with the body. Everyone has something that resonates, has something to say through the movements that make them exist. A moment to dance and draw.

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Efe Godoy is a short-sighted, transvestigender visual artist who researches hybridity in its various languages (video, object, drawing, painting, performance) with an emphasis on childhood memories pieces and impulsive fabulations. Efe Godoy is from Sete Lagoas, lives and works in Belo Horizonte. Strolled the Guignard/UEMG School and kept training in experiences and residencies in Brazil and abroad. Was nominated for the 2022 PIPA contemporary art award.

CONFERENCE SCENIC AFFECTIVITY June 12th, Sunday, from 5pm to 18:30pm Itaú Cultural WITH Geni Núñez MEDIATION Dodi Leal This activity discusses the affection monoculture and its effects on the relationship building with oneself and with other beings. Reveals the importance of naming, recognizing and seeking ways to repair colonialities. Through the notion of imaginary reforestation and affection craftsmanship, it will reflect on other clues and ways to build more palatable involvement in diverse relationships.

Dodi Leal is a professor at the Training Centre in Arts and Communication (CFAC) of the Federal University of Southern Bahia (UFSB), in Porto Seguro. Leader of Research Group Pedagogy of Performance: Scene Visualities and Critical Body Technologies (CNPq/UFSB). Permanent lecturer at PPGER/UFSB and collaborator of PPGT/UDESC. Co-coordinator of GT Mulheres da Cena, from ABRACE. She conducts studies and artistic works of performance and scenic lighting, going through works of theatrical criticism, curatorship and art pedagogy. PhD in Social Psychology (IP-USP) and Graduated in Performing Arts (ECA-USP). Author of poetry book De Trans pra Frente (SP: Patuá, 2017) and the theoretical books LUZVESTI: Scenic Lighting, Corpusmedia and Gender Disobedience (Salvador: Devires, 2018) and Pedagogy and Aesthetics of Theatre of the Oppressed: Traces of Theatrical Art in Public Management (Hucitec, 2015).

Geni Núñez is a Guarani indigenous activist, psychologist, MA in Social Psychology and doctoral student in the Interdisciplinary Postgraduate Program in Human Sciences.

Member of the Brazilian Articulation of Indigenous Psychologists (ABIPSI) and coassistant of the Guarani Yvyrupa Commission. Co-organizer of Non-LGBT Monogamy + Free Thought and Art Collection.

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pedagogies of teatra encounter: affectivity of knowing to cross out and take risk INVITED CURATOR LUH MAZA

The Encounter is a space to revive theatrical creation methodologies from the disruptive experiences of non-dominant knowledge. Thoughtful and practical exchanges, in which the corporeality take risks in new possibilities of finding other ways of crisscrossing space and scene making, will be carried out. The mix of panels and workshops, soirée and gatherings intend to push the vectored affections by the transfeminist perspective of gender transition in the theatrical area: from theatre to teatra. We intend to urge new pedagogies based on trans knowledge.

In this (Re-)Encounter, affection outside of cisheteronormativity arises as posthecatomb resistance, a deviation to a new possibility. The day begins with the reunion of generations, revering history with a tribute to Divina Valéria, 78, star of the film Divinas Divas, of Carrousel de Paris and international gigs, which will be the theme of an interview by 33-year-old multi-artist Aretha Sadick, in a talk about representation and representativeness over time. In the afternoon, a panel gathers the actors Daniel Veiga - also as mediator -, Bernardo de Assis, Gabriel Lodi and Leo Moreira Sá to discuss new transmasculine constructions and protagonism in theatre, cinema and TV. And to end our afternoon, a pocket soiree joins the trans-centric couple Bixarte and Julian Santos, both from Paraíba, to recite ode rhymes to our affection and its effects.

Luh Maza is a Carioca playwright, screenwriter, director and actress, living in São Paulo. She wrote and directed more than ten shows, notably Carne Viva (2015), staged in Portugal, Kiwi (2016), winner of the Applause Brazil Award, and Transtopia (2019) at São Paulo Municipal Theatre. Her plays were published in the collection Primeiras Obras (Imprensa Oficial SP, 2009, finalist of Jabuti Literature Award), in the book Teatro (Chiado Editora, Lisbon, 2015) and in the anthology Dramaturgia Negra (Funarte, 2019). She wrote for the series Sessão de Terapia (Globoplay, 2019) having been nominated for the ABRA Screenwriter of the Year Award. She has also developed two new series for Globoplay and Netflix. She is currently the screenwriter and director of Da Ponte Pra Lá series (HBOMax / general direction of Vicente Amorim) and head screenwriter of the adaptation of Torto Arado series (HBOMax / general direction of Heitor Dhalia).

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ARETHA SADICK INTERVIEWS GRETTA STARR June 6th, Monday, from 2pm to 4pm Biblioteca Mário de Andrade

A reunion of generations, revering history of Divina Valéria, 78, star of the film Divinas Divas, of Carrousel de Paris and international gigs, which will be interviewed by 33-year-old multi-artist Aretha Sadick, in a talk about representation and representativeness over time.

Gretta Salgado Silveira, known as Gretta Starr, was born on September 10, 1955, in Santos/SP. Acting in the LGBT nightlife scene since 1979, Gretta Star performed as a transforming artist and worked in nightclubs such as Pink Panther, Nostro Mondo, Corintho and Homo Sapiens. In the mid-1980s, she moved to Japan and started performing in several Asian countries. Back in Brazil, she took an active part in the organisation of the LGBT Pride Parade and became directly involved in campaigns to welcome transgender women and raise awareness about HIV/AIDS. Gretta continues to work as a make-up artist, a profession she has practised for over 30 years, and as an artist, acting in films such as São Paulo em Hi-Fi, Quem Tem Medo de Cris Negão and Os Sapatos de Aristeu.

Aretha Sadick is an artist producing new imaginary about the Black and Trans community in Brazil. She starred in the Brazilian short films BR_Rip by Eduardo Nogueira (2018), Preciso Dizer que te Amo, by Ariel Nobre (2018), and NEGRUM3 documentary by Diego Paulino (2018). Participated in the theatrical shows Macunaíma Ópera Tupi, by Iara Rennó; Transtopia, by Luh Maza, in the series Me Chame de Bruna (Fox) and Os Ausentes (HBO Max) and starred in the feature film Lili & as Libélulas, by René Guerra.

PANEL

June 6th, Monday, from 4pm to 6pm Biblioteca Mário de Andrade Panel about the new constructions and transmasculine protagonism in theatre, cinema and tv.

Bernardo de Assis is an actor graduated at CAL, a theatre director graduated at Unirio and specialist in Communication, Diversity and Inclusion in Organisations by PUCMinas. He’s a trans man, suburban, bisexual, storyteller and has participated in more than ten shows. In audiovisual he took part in the series Nós, Transviar, Todxs Nós and Noturnos, besides soup-opera Salve-se Quem Puder.

Daniel Veiga is a screenwriter, playwright and actor. Black and trans man, he directed theatre between 2009 and 2016; he was the first trans teacher in the dramaturgy course at SP Escola de Teatro. He won the Kikito for Best Actor in 2020. As a screenwriter, he is in Sala Narrativas Negras, from Paramount Channel, was part of CoLAB Netflix, is a Queer Literacy advisor at Globo TV and educational advisor of Dramaturgia Pluriversal LGBTQ+ course, by Escola Itaú Cultural. Co-founder of CATS-Collective of Transmasculine Artists.

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Gabriel Lodi is an actor, voice actor and transactivist. In theatre, he was an actor in Trilogia Anti Patriarcal, by Cia Satyros, and in the play Agridoce, by Zen Salles. For TV, he acted in Todxs Nós, available at HBO Max, and in the independent production Seu Olhos, part of Amazon Prime catalogue. In cinema, he’s in the main cast of Para Onde Voam as Feiticeiras and Revolução 2020. As a voice actor, he voiced Tyler from game Tell Me Why, as well as Netflix and other studios productions.

Leo Moreira Sá is an actor, author, light designer, playwright, screenwriter and cofounder of CATS - Collective of Artists Transmasculines. He began his career in 2009 as an actor and lighting technician and, in 2011, in addition to acting he has also done the lighting design of Cabaret Stravaganza, by Cia. Satyros, for which he won the Shell Theatre Award in 2011. In 2013, he wrote, produced and starred in the autobiographical theatre show Lou & Leo, directed by Nelson Barkerville. From 2014, he started working in the audiovisual industry.

BIXARTE AND JULIAN SANTOS June 6th, Monday, from 6pm to 7pm Biblioteca Mário de Andrade

Pocket soiree with Bixarte and Julian, artists from Paraíba who, together, bring a mixture of MPB with marginal poetry, restraining the hatred and love going through their trans bodies.

Bixarte is an actress, singer and poet. In her shows she brings a mixture of marginal poetry and rhythms echoing Brazilianity. Winner of Paraíba Music Festival, and also nominated for the WME award, in the best new artist category.

Julian Santos is an artivist, singer, poet, who musicalizes transmasculine experiences in her EP Transrevolução (2019) and Show-Manifesto (2020). She has been occupying spaces such as TEDx Macedo and Festival Lia de Itamaracá (PE), among others.

internationalization in practice – module 2 June 6th to June 9th, Monday to Thursday, from 9am to 1pm Goethe-Institut Sequence of the MIT+ programme online workshop, the second module aims to reflect on how important is solidarity and the culture of sharing. Based on the elaboration of pitch sessions, for a real presenter, participants should identify the goals and outline strategies for their own work and set the position they want to occupy in the global stage. All participants should leave this workshop with a clear set of achievable goals for the coming year and a strategy to do so.

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This workshop is an action of MITbr: MITbr Platform Brazil, axis of internationalisation of Brazilian performing arts of MITsp - São Paulo International Theatre Festival, presented by Olhares Cultural Institute and supported by Goethe-Institut São Paulo.

Wolfgang Hoffmann grew up in East Germany, studied to be a toolmaker and only from the age of 21 could devote himself to dance. He was co-founder of Fabril Potsdam, a crucial space for music and dance in Germany, and produced the Potsdamer Tanztage, an annual dance festival. With his dance company, Fabrik Potsdam, he produced and toured with shows to 20 other countries. In 2001, he founded Aurora Nova, a space devoted to physical theatre and dance in Edinburgh. Between 2004 and 2008, he was the director of Dublin Fringe Festival. Currently coordinates Aurora Nova, a production company focused on the agency and management of international tours, representing the latest trends in contemporary circus, physical theatre and new theatrical formats for scenic spaces and festivals around the world.

special who is afraid?

quem tem medo?

Dellani Lima, Henrique Zanoni and Ricardo Alves Jr. BRAZIL, 2022 | 71min | PARENTAL RATING 14+

Cine Bijou 6 MON

7 TUE

8 WED

2 THU

3 FRI 7pm

4 SAT

5 SUN

9 THU

10 FRI

11 SAT

12 SUN

Free | Tickets are available one hour before the screaning

Documentary feature film narrating the rise of the extreme right in Brazil from the perspective of artists who had censored works. With their voices, the film composes a mosaic of the consequences of the present extremism escalation in the country.

After the session, there will be a debate with Guilherme Varella, a member of Mobile (Brazilian Integrated Movement for the Freedom of Artistic Expression), and guests

HISTORY Dellani Lima is a filmmaker, musician, visual artist and actor. He has produced, directed, scripted, acted and edited dozens of films, screened at festivals such as Berlin, Sundance, Visions du Réel and Brasília. Among his works as director is the feature film O Tempo Não Existe no Lugar em que Estamos [Time Does Not Exist in the Place We Are] (2015).

Henrique Zanoni is a filmmaker, actor, producer, screenwriter, playwright and editor. Partner of the production company Bela Filmes and founder of Cia dos Infames de Teatro. Directed the films Who is Afraid?, Labirinto [Maze], Quem Perdeu o Telhado em Troca Recebe as Estrelas [Who Lost the Roof in Exchange Receives the Stars], Brutalidade [Brutality], among others.

He has a MA in Culture and Society from UFBA. Ricardo Alves Jr is a filmmaker, producer and theatre director. His films were screened at several international festivals, including Critics Week of the Cannes Film Festival, Berlinale, Locarno and Rotterdam. His feature film Elon Não Acredita na Morte [Elon Does Not Believe in Death] was acquired by Netflix. He is co-director of the show Before Time Existed, premiering on MITsp in 2022.

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"The fact is that the mixture of intolerance and ignorance brought by the far-right government found echo in a portion of society ignorant of the boundaries between art and reality. The film of Dellani, Ricardo and Henrique breaks the silence that settled on those works. Brings to mind a bit about them and help to size the hole in which we've put ourselves in last years."

DIRECTION, SCREENPLAY AND

CARLOS ALBERTO MATTOS

SOUND AND IMAGE RESEARCH

EDITING Dellani Lima, Henrique Zanoni and Ricardo Alves Jr EXECUTIVE PRODUCTION Daniel Pech SOUND EDITING AND MIXING Ricardo Zollner PHOTOGRAPHY, DIRECT Dellani Lima

"And we are currently experiencing a great radicalization everywhere. And that's always how it starts in the great wars. If someone has difficulty understanding these words, just watch Who's Afraid?. The documentary by Ricardo Alves Jr, Dellani Lima and Henrique Zanoni makes an inventory of performers, actors and playwrights who not only had works censored, but were violently threatened and attacked by federal deputies and through the internet."

EDUARDO ESCOREL, Revista Piauí PH OTO D E L L A N I L I M A

PRODUCTION Dellani Lima, Henrique Zanoni, Ricardo Alves Jr and Daniel Pech WITH Maikon K, Wagner Schwartz, José Neto Barbosa, Renata Carvalho, Pedro Kosovski, Pedro Leal David, Matheus Macena, Alex Nader, Biagio Pecorelli, A Motosserra Perfumada, Aquela Cia de Teatro and S.E.M. Cia de Teatro 99

tickets There will be ticket sales with no extra fee at the theatre box office, one hour before each session - a quota will be reserved for onsite purchases.

mitsp.org/2022/ingressos For presentations at Sesc, it is possible to buy tickets in any of its units.

Payment methods: credit card and PIX (Sympla app); credit card, debit card, culture voucher, cash (box office).

addresses BIBLIOTECA MÁRIO DE ANDRADE Rua da Consolação, 94, República Phone: +55 11 3775-0002

SESC PINHEIROS Rua Paes Lemes, 195, Pinheiros Phone: +55 11 3095-9400

CASA DO POVO Rua Três Rios, 252, Bom Retiro Phone: +55 11 3146-7439

TEATRO ALFREDO MESQUITA Avenida Santos Dumont, 1770, Santana Phone: +55 11 2221-3657

CENTRO CULTURAL VILA ITORORÓ Rua Pedroso, 238, Bela Vista Phone: +55 11 3253-0187

TEATRO ARTHUR AZEVEDO Avenida Paes de Barros, 955 Phone: +55 11 2604-5558

CINE BIJOU Praça Franklin Roosevelt, 172 Phone: +55 11 97883-9696

TEATRO CACILDA BECKER Rua Tito, 295, Lapa Phone: +55 11 3864-4513

GALPÃO DO FOLIAS Rua Ana Cintra, 213 Phone: +55 11 3361-2223

TEATRO JOÃO CAETANO Rua Borges Lagoa, 650 Phone: +55 11 5573-3774

GOETHE-INSTITUT SÃO PAULO Rua Lisboa, 974, Pinheiros Phone: +55 11 3296-7000

TEATRO OFICINA Rua Jaceguai, 520 Phone: +55 11 3106-2818

ITAÚ CULTURAL Avenida Paulista, 149, Bela Vista Phone: +55 11 2168-1777

TEATRO PAULO EIRÓ Avenida Adolfo Pinheiro, 765 Phone: +55 11 5686-8440

SESC BELENZINHO Rua Padre Adelino, 1.000 Phone: +55 11 2076-9700

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on MITsp website, you will find much more content • reflexive essays • interviews with artists • daily reviews of MITsp shows The texts are signed by critics and researchers: Artur Kon Daniel Guerra Guilherme Diniz Ierê Papá Lorenna Rocha Luciana Romagnolli Michele Rolim Sílvia Fernandes Read it (in Portuguese) at mitsp.org/2022/ publicacoes or access here:

Off-circuit Also take advantage of the off-circuit that happens simultaneously to MITsp. FarOFFa do Processo takes place from June 6th to 12th at Oficina Cultural Oswald de Andrade. The event brings works in process, with different stages.

See www.faroffa.com.br

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technical sheet – MITsp 2022

CONCEPTION AND ARTISTIC DIRECTOR

REFLECTIVE AND EDUCATIONAL AXES

Antonio Araujo

COORDINATOR Jaya Batista

CONCEPTION AND EXECUTIVE DIRECTOR

COORDINATION, EDITION, WRITING

Guilherme Marques

AND EDITORIAL CONTENT SUPERVISORS

INSTITUTIONAL DIRECTOR Rafael Steinhauser FINANCIAL DIRECTOR Flávio Peres PLATFORM MIT+ DIRECTOR AND COMMUNICATION COORDINATOR Natália Machiavelli INTERNATIONAL RELATIONS Jenia Kolesnikova EXECUTIVE PRODUCER COORDINATOR Rachel Brumana CRITICAL REGARDS CURATOR José Fernando Azevedo and Júlia Guimarães EDUCATIONAL ACTIVITIES CURATOR Dodi Leal PEDAGOGIES OF TEATRA ENCOUNTER CURATOR Luh Mazza MITbr - PLATFORM BRAZIL CURATOR Jane Schoninger and Jorge Alencar FINANCE AND ADMINISTRATION COORDINATOR Hiago Marques DIRECTION ASSISTANCE Marina Watanabe NATIONAL, INTERNATIONAL RELATIONS AND MITbr PROGRAMMERS - PLATFORM BRAZIL COORDINATOR Fernando Ruiz Braun PRESS OFFICE COORDINATOR Márcia Marques | Canal Aberto TECHNICAL COORDINATOR Grazi Vieira LOGISTICS COORDINATOR Luiza Alves MITbr - PLATFORM BRAZIL PRODUCTION COORDINATOR Paulo Girčys

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Ferdinando Martins and Malu Barsanelli EDUCATIONAL AXIS PRODUCER Carmen Mawu Lima REFLECTIVE AXIS PRODUCER Gustavo Valezzi LOCAL PRODUCERS/MITsp Fernanda Guedella, Julio Cesarini, Pedro de Freitas LOCAL PRODUCERS/MITbr Carol Vidotti, Ney Wellington Bahia, Paulo Mattos PRODUCTION OF THE SCREENING OF THE FILM WHO'S AFRAID? Daniella Dantas MITbr - PLATFORM BRAZIL MEDIATION Ferdinando Martins LEGAL ADVISER José Augusto Vieira de Aquino ACCOUNTING AND TRIBUTARY ADVISER Carvalho Ramos Consultoria Contábil Tributária S/S MITsp AND MITbr - PLATFORM BRAZIL EXECUTIVE PRODUCER Arthur Hideki FINANCE AND ADMINISTRATION COORDINATION ASSISTANT Nathalia Monteiro NATIONAL, INTERNATIONAL RELATIONS AND PROGRAMMERS MITbr ASSISTANT Fernanda Gama COMMUNICATION ASSISTANT Thais Venosa PRESS OFFICE ASSISTANTS Daniele Valério, Rafaella Martinez Vicentini and Rafaela Bonilla.

Releases: Flávia Fontes de Oliveira TECHNICAL COORDINATION ASSISTANT Cauê Gouveia

LOGISTICS COORDINATION ASSISTANTS Ana Zumas and Veni Moraes Barbosa PUBLIC RELATIONS ASSISTANT Delphine Lacroix RECEPTION Maria Letícia Costa REFLECTIVE AND EDUCATIONAL AXES PRODUCTION ASSISTANTS Thata Lopes, Mohamed Azambuja and Fernanda Santos

MARKETING AUTOMATION Agência Bowie MASTERS OF CEREMONIES Dodi Leal and Zahy Guajajara GENERAL ASSISTANT Jair Nascimento TRANSPORT ON OFF FREIGHTS Ivo Ribeiro RESOURCE FUNDING BOOK Osvaldo Piva

DIRECTION ASSISTANT AND TRANSLATOR TRAGEDY AND PERSPECTIVE I – THE PLEASURE OF NOT AGREEING Leila Monsegur SCENOGRAPHIC CONSULTANT Carol Buček TECHNICAL ADVISER_LIGHT André Boll TECHNICAL ADVISER_SOUND Guilherme Ramos TECHNICAL ADVISER_VIDEO Ivan Soares SOCIAL MEDIA Bruna Aly | BAM! Estúdio Criativo EDITORIAL CONTENT TRANSLATOR Kevin Kraus SUBTITLES AND TEXT TRANSLATION Casarini Produções VISUAL IDENTITY AND GRAPHIC DESIGN Casaplanta [Amanda Dafoe] + Lila Botter ART ASSISTANTS André Luiz and Olivia Abrahão WEBMASTER Marina Duca AUDIOVISUAL PRODUCER ERA - Empório de Relacionamentos Artísticos PHOTOGRAPHERS Guto Muniz and Silvia Machado LIVE STREAMING Victor Vivacqua + Agência Bowie

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acknowledgments

Adolfo Barreto

Catarina Duncan

Adriana Ramos

Celso Giannazi and office's staff

Alejandro Alberto Sfeir Tonsic

Christiano Lima Braga

Alexandra Pinho

Cinthia Marcelle

Alice Grisa

Cult_B

Aline Ribenboim

Cynthia Margareth

Aline Torres

Daisaku Ikeda

Álvaro Machado

Danilo Santos de Miranda

Ana de Luna

Debora Hummel

Ana Marques

Diogo Leite

André Acioli

Diogo Viana and Centro Cultural Vila Itororó's staff

André Boll André Cortez André de Araújo André Plácido André Vilela

Dora Leão Dorberto Carvalho and SATED/SP staff Dulce Vivas

Andrea Nogueira

ECAD Escritório Central de Arrecadação e Distribuição

Aurea Leszczynski Vieira Gonçalves

Eduardo Dias de Souza Ferreira

Bárbara Giacomet de Aguiar

Eduardo Fragoaz

Benjamin Boëthius

Eduardo Saron

Benjamin Seroussi and Casa do Povo's staff

Eliézer Giazzi

Bernardo Galegale Bethe Ferreira Brígida Lopes Camila Mota and Teatro Oficina's team Candela Filmes Carlos Giannazi and office's staff Carlos Hashish Carlos Moreira Gomes Carminha Gongora 104

Elodie Meunier Emerson Pirola Erica Malunguinho and office's staff Ericah Azeviche Estela Silva Eustáquio Gugliemelli Fabio Toreta Fause Haten Fefê Venturini Fernanda Monteiro

Fernando Nalini and Sax Logística's staff Flavia Carvalho and Sesc Pinheiro's staff Flavio Henrique Francesca Casano Francesca Tedeschi Frederico Mascarenhas Gabriela Gonçalves and Corpo Rastreado's staff Gabriela Magagnin Gabrielle Araújo Gaelle Massicos Bitty Galiana Brasil Geondes Antônio and Teatro Paulo Eiró's staff Giba Soares Heloisa Cuente Pisani Hugo Gravanita Hugo Possolo Ivan Gianinni João Paulo Quintella João Santos Joel Naimayer Padula Jose Mauricio Rodrigues José Ramos and Sesc Belenzinho's staff Julia Saluh Julian Christopher Fuchs Juliane Gomes Júlio Cesar Dória Alves Jurandy Valença and Biblioteca Mário de Andrade's staff Karine Legrand

Kelly Adriano de Oliveira Leandro Rezende and Teatro João Caetano's staff Leandro Teodora Ferreira Leonardo Monteiro Leslie Arias Lili Monteiro Lucas Bêda Luciene Cavalcante Maíra Pompeo Maíra Tardelli de Azevedo Mamudo Djante Marcia Izzo Marcia M. Silva Marcio Vidal Marinho Marcos Bednarski Maria Beatriz Costa Cardoso

Nilton Bicudo and Teatro Alfredo Mesquita's staff Núcleo dos Festivais Internacionais de Artes Cênicas do Brasil

Rosana Ramos Rosangela Quaresma Rubens Carsoni Sandra Moreira

Oscar Boronat

Sérgio Dávila

Pablo Moreira

Sergio Luis Venitt de Oliveira

Paola de Marco

Sérgio Sá Leitão

Patrice Pauc

Silmara Rodrigues

Patricia Borges Roggero and Teatro Cacilda Becker's staff

Simone Ferreira

Paula Alves and Pestana Hotel's staff Paulo Mazieri Paulo Pina Pedro Gomides Pedro Granato Ph Veríssimo

Simone Malina Sociedade Brasileira de Autores - SBAT Sonia Regina Viveiros Brocca Stephanie Genesini Tata Coutinho Teatro Oficina Telma Baliello

Mario Rubio

Professors at the Department of Performing Arts - ECA/USP

Marisa Riccitelli Sant’ana

Puja Kausnik

tOn Miranda

Martha Kiss Perrone

Rafael Espadine

Universidade Antropófoga

Martim Vilares

Rafael Marques Cavalcante

Vando Alves

Matheus Oliveira Santos

Raphaëlle Lapierre-Houssian

Vanessa Riquelme Carriel

Matthias Makowski

Regina Varandas

Wellington da Silva Santos

Matthieu Branders

Renato Sztutman

Matthieu Thibaudault

Ricardo G. Neuding

Mauricio Garcia

Roberta Brum

Michele Gialdroni

Rodrigo Bognar

Mônica Fernandes Natalia Ferraz

Rodrigo Maia de Lorena Pires

Natália Risovas

Rodrigo Mathias

Natalia Souza

Rodrigo Solano

Nathalia Gabriel and Teatro Arthur Azevedo's staff

Rogério Ianelli

Maria Carolina Ribeiro

Telma Regina Moraes Souza Tião Soares

Rosana Paulo da Cunha 105

show's grid 2 THU

MITbr - BRAZIL PLATFORM

8pm [FOR GUESTS] | Sesc Pinheiros

3 FRI

MITsp PROGRAM

9pm | Sesc Pinheiros

STADIUM

9pm | Teatro Paulo Eiró

STADIUM

HAMMER AND SICKLE

4 SAT

5pm | Biblioteca Mário de Andrade

A GARDEN TO EDUCATE BEASTS 9pm | Sesc Pinheiros

9pm | Teatro Paulo Eiró

STADIUM

HAMMER AND SICKLE

5 SUN

5pm | Biblioteca Mário de Andrade

A GARDEN TO EDUCATE BEASTS + PANEL 8pm | Teatro Paulo Eiró

6 MON

8pm | Galpão do Folias

7 TUE

HAMMER AND SICKLE + PANEL

8pm | Galpão do Folias

TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING 8pm | Teatro Arthur Azevedo

DEFERRED JUDGEMENT 8 WED

7pm | Teatro Arthur Azevedo - Sala Multiuso

THEY PRACTICE CONTEMPORARY DANCE 8pm | Galpão do Folias

TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING 9pm | Teatro João Caetano

ROUGH LOCK

9pm | Sesc Belenzinho

UNCANNY VALLEY

5pm | Teatro João Caetano

ROUGH LOCK

7pm | Teatro Arthur Azevedo - Sala Multiuso 9 THU

THEY PRACTICE CONTEMPORARY DANCE 8pm | Galpão do Folias

8pm | Teatro TRAGEDY AND PERSPECTIVE Arthur Azevedo

I - THE PLEASURE OF NOT AGREEING 9pm | Sesc Belenzinho

UNCANNY VALLEY + PANEL 108

DEFERRED JUDGEMENT

8pm | Teatro Alfredo Mesquita

THERE’S MORE FUTURE THAN PAST

9pm | Teatro Arthur Azevedo - Sala Multiuso

THEY PRACTICE CONTEMPORARY DANCE

4pm | Teatro Alfredo Mesquita

THERE’S MORE FUTURE THAN PAST 5pm | Sesc Belenzinho

10 FRI

UNCANNY VALLEY 6pm | Teatro Cacilda Becker

BEFORE TIME EXISTED 8pm | Teatro Paulo Eiró

8pm | Galpão do Folias

HISTORY OF THE EYE - A PORN-NOIR FAIRY TALE

TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING

9pm | Sesc Belenzinho

UNCANNY VALLEY 5pm | Biblioteca Mário de Andrade

5pm | Sesc Belenzinho

A GARDEN TO EDUCATE BEASTS

UNCANNY VALLEY

6pm | Teatro Arthur Azevedo

FORTALEZA 11 SAT

7pm | Teatro Arthur Azevedo - Sala Multiuso

ANCES

8pm | Teatro Paulo Eiró

8pm | Galpão do Folias

HISTORY OF THE EYE - A PORNNOIR FAIRY TALE 9pm | Sesc Belenzinho

UNCANNY VALLEY

TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING

9pm | Teatro João Caetano

A.L.S.O

9pm | Teatro Cacilda Becker

BEFORE TIME EXISTED + PANEL

3pm | Teatro João Caetano

A.L.S.O

5pm | Biblioteca Mário de Andrade

A GARDEN TO EDUCATE BEASTS

5pm | Teatro Arthur Azevedo - Sala Multiuso

ANCES

12 SUN

6pm | Teatro Paulo Eiró

HISTORY OF THE EYE - A PORN-NOIR FAIRY TALE 7pm | Teatro Arthur Azevedo

FORTALEZA

8pm | Galpão do Folias

TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING

8pm | Teatro Arthur Azevedo - Sala Multiuso

ANCES

9pm | Teatro Cacilda Becker

BEFORE TIME EXISTED 109

educational activities and critical regards 3 FRI

EDUCATIONAL ACTIVITIES

CRITICAL REGARDS

4pm to 8pm | Itaú Cultural

7pm | Cine Bijou

PANELS STADIUM

FILM WHO IS AFRAID?

4 SAT

10h to 1pm | Casa do Povo

WORKSHOPS MASSAGEAÇO 2pm to 5pm | Itaú Cultural

SEMINAR PANEL 1: MY COUNTRY IS MY PLACE OF SPEECH: DESTRUCTION AND LANGUAGE 10h to 1pm | Casa do Povo

WORKSHOPS MASSAGEAÇO

5 SUN

2pm to 5pm | Itaú Cultural

SEMINAR PANEL 2: PRESENT DEVELOPMENTS: DEATH POLICIES AND POLITICAL IMAGINATION After the 5pm show | Biblioteca Mário de Andrade

PANELS A GARDEN TO EDUCATE BEASTS After the 8pm show | Teatro Paulo Eiró

PANELS HAMMER AND SICKLE 9am to 1pm | Goethe-Institut São Paulo

WORKSHOPS INTERNATIONALIZATION IN PRACTICE - MODULE 2

6 MON

2pm to 4pm | Biblioteca Mário de Andrade

PEDAGOGIES OF TEATRA ENCOUNTER ARETHA SADICK INTERVIEWS GRETTA STARR 4pm to 8pm | Biblioteca Mário de Andrade

PEDAGOGIES OF TEATRA ENCOUNTER PANEL 8pm to 7pm | Biblioteca Mário de Andrade

PEDAGOGIES OF TEATRA ENCOUNTER BIXARTE AND JULIAN SANTOS

7 TUE

9am to 1pm | Goethe-Institut São Paulo

110

WORKSHOPS INTERNATIONALIZATION IN PRACTICE - MODULE 2 7pm to 9pm | Biblioteca Mário de Andrade

OPEN CLASS THE EDGES BETWEEN ORGANIC KNOWLEDGE AND SYNTHETIC KNOWLEDGE

8 WED

9am to 1pm | Goethe-Institut São Paulo

WORKSHOPS INTERNATIONALIZATION IN PRACTICE - MODULE 2 2pm to 4pm | online

OPEN CLASS ABOUT EXHAUSTION - A READING OF SUBJECTIVITY 9am to 1pm | Goethe-Institut São Paulo

9 THU

WORKSHOPS INTERNATIONALIZATION IN PRACTICE - MODULE 2 3pm | Centro Cultural Vila Itororó

5pm | Centro Cultural Vila Itororó

PERFORMANCE EDUCATIONAL LABORATORY HER

PERFORMANCE EDUCATIONAL LABORATORY AYÔ TUPINAMBÁ

4pm to 8pm | Itaú Cultural

PANELS TRAGEDY AND PERSPECTIVE I - THE PLEASURE OF NOT AGREEING After the 9pm show | Sesc Belezinho

PANELS UNCANNY VALLEY 10am to 12am | Casa do Povo 10 FRI

WORKSHOPS OF WHAT AFFECTS YOU 4pm | Centro Cultural Vila Itororó

5pm | Centro Cultural Vila Itororó

PERFORMANCE EDUCATIONAL LABORATORY SEARCHED TO BE AFFECTED

PERFORMANCE EDUCATIONAL LABORATORY ISIS BROKEN INVITES AQUALIEN

3pm | Teatro Oficina

11 SAT

PERFORMANCE EDUCATIONAL LABORATORY LOVE LETTERS: DEATH SPIRAL 3:30pm | Teatro Oficina

4pm | Teatro Oficina

PERFORMANCE EDUCATIONAL LABORATORY ONE

PERFORMANCE EDUCATIONAL LABORATORY ASSUCENA

4pm to 8pm | Teatro Paulo Eiró

PANELS HISTORY OF THE EYE - A PORN-NOIR FAIRY TALE After the 9pm show | Teatro Cacilda Becker

PANELS BEFORE TIME EXISTED

12 SUN

2pm to 4pm | Itaú Cultural

CRITICAL PRACTICE CRITICAL PERSPECTIVES 5pm to 6:30pm | Itaú Cultural

WORKSHOPS CONFERENCE SCENIC AFFECTIVITY 111