Dossiê Curadores MITsp2020 by MITsp

MINISTÉRIO DA CIDADANIA, ITAÚ, SECRETARIA MUNICIPAL DE CULTURA AND SESC PRESENT

EDITOR Maria LuÃsa Barsanelli DEPUTY EDITOR Mariana Marinho VISUAL IDENTITY AND GRAPHIC DESIGN Casaplanta + Lila Botter TRANSLATION Kevin Kraus

7th SÃO PAULO INTERNACIONAL THEATRE FESTIVAL | 2020

TABLE OF CONTENTS

06 PRESENTATION 10

AT THE THIRD BELL

INSURGENCY IN TIMES OF SCARCITY

BRAZILIAN SCENE: A LANDSCAPE OF INSURGENT BODIES

SHOWS, DEMOCRACY AND BUSINESS

MITsp PROGRAM

PERFORMANCES

SPECIAL - JESUS QUEEN, TEN YEARS

MITbr – BRAZIL PLATFORM

CRITICAL REGARDS

100 EDUCATIONAL ACTIVITIES 112 SPECIAL EVENTS 114 ADRESSES 116 TECHNICAL SHEET 118 ACKNOWLEDGMENTS 122 SHOW’S GRID 124 CRITICAL REGARDS AND EDUCATIONAL ACTIVITIES’ GRID

PRESENTATION

THE SEVENTH CONSECUTIVE EDITION OF MITSP - São Paulo International Theatre Festival presents an overview of the contemporary world theatre scene, bringing productions that cultivate language experimentation and are critical of their own era. Within this perspective, the 2020 program focuses in two keywords: overflow and transgress, concepts that are also manifested in the works of Henrique Oliveira, the artist which devised the present edition’s visual identity. MITsp Program includes international pieces with artists from a range of countries, and MITbr - Brazil Platform is reinforced as an important internationalization program of Brazilian performing arts. The festival also brings activities such as Critical Regards, inviting the audience to think about performing arts and contemporaneity through panel discussions, talks, paper publishing and reviews, among others; and Educational Activities , with artistic residencies, workshops, interchanges and activities urging discussion about new pedagogies, new ways of producing and transmitting knowledge. MITsp PROGRAM If the past edition was marked by documentary productions, this 7th MITsp goes the other way, giving strength to hyper-theatricality. These are works that seek in metaphor and theatrical poetics the power to depict the insanity of a world in conflict. Artist in focus, the Portuguese Tiago Rodrigues, director of Teatro Nacional Dona Maria II, presents two shows, By Heart and Blow. Traveling between reality and fiction, the actor, director and playwright explores the power of memory, either as an instrument of affection or as a resistance tool. Frenchman Philippe Quesne, with German Munich Kammerspiele, uses humour and irony in Farm Fatale, a dystopian allegory about how humans impact the world. In Samedi Détente, Rwandan Dorothée Munyaneza, based in France, blends diverse artistic languages to her childhood memory to speak of the horrors of civil war in her country. French Phia Ménard, in Immoral Tales - Part 1: Mother House, reimagines a house for Europe and its homeless from a simple cardboard structure. Yet, Franco-Austrian Gisèle Vienne focuses on her dance research and puppets to dissect human relations in the shows Crowd and 6

Jerk. These productions compose the France Focus, a small overview of its contemporary scene. The Portuguese John Fiadeiro criticizes urgency and rushed routine in What to Do with What Remains. Indian Mallika Taneja speaks of violence against women in her country in Be Careful. The relationship with the other, the different, is also the motto of works such as You Shall Love, in which Chilean company Bonobo shows a society afraid to host outsiders; and The British The Claim, partnership between director Mark Maughan and playwright Tim Cowbury, about the refugees asylum system flaws. There is also a focus on trans visibility. Non-binary artist Travis Alabanza discusses, in Burgerz, an experienced case of transphobia. ORLANDO, installation of Swiss Julie Beauvais, relies on Virginia Woolf’s novel to think of a post-binary world. This edition, finally, celebrates the ten years of The Gospel According to Jesus, Queen of Heaven text, about a transsexual Christ, bringing together the play’s original presentations, with British Jo Clifford, and Brazilian Renata Carvalho. MITbr - BRAZIL PLATFORM In its third year, MITbr extends the proposal to encompass the plurality of languages, themes and artists of the national scene. Choreographer Andréia Pires, Brazilian artist in focus, debates the political body and the country’s current context in Fortaleza 2040 and WORSTWARD ON. In fact, political and social debate pervades much of the works. Where the Pigs Go by Kildery Iara rethinks the capitalist system and its players. Maikon K rereads Georges Bataille and his criticism to society’s standards in The Solar Anus. The performance Recolon by Mona Collective examines the environmental impact of Rondônia’s Madeira River hydroelectric plants. MEXA Group, with Terminal Songbook, and Original Bomber Crew, with tReta, bring peripheral and marginalized bodies onstage. Macaquinhos group suggests a colonial hangover in ZOO, which disenchants human zoos held in European countries during the 20th century. In Stabat Mater, her most recent work, Janaina Leite dissects the feminine and its social role. 7

PRESENTATION

The present edition brings many works dealing with the black issue – debating the black body presence onstage or even rereading historical mechanisms of oppression. Such as violent. by Preto Amparo, Alexandre de Sena, Grazi Medrado and Pablo Bernardo; Between the Lines by Collective Ponto Art; Midnight by Orun Santana; and The Last Straw {BLACK} by Jé Oliveira, an adaptation of the musical by Chico Buarque and Paulo Pontes. CRITICAL REGARDS The Critical Regards axis program invites the public to think about the performing arts and contemporaneity from a series of actions, such as carrying out debates; panels with thinkers of diverse backgrounds and places of speech; and release of daily reviews. The curatorial practice and idea of culture as a shared good are themes that guide this year’s Aesthetic-Political Reflections, with panels such as Culture as Constitutional Law and Common Good, Democracy in Focus: Censorship Mechanisms and Curatorship at the Crossroads. The artists in focus of this edition, Portuguese Tiago Rodrigues and Brazilian Andréia Pires, participate in public interviews, and French researcher Olivier Neveux, theatre history and aesthetics professor at ENS de Lyon, runs the masterclass Against the Political Theatre. Researcher in focus, actress, playwright and director Janaina Leite explores the aesthetic and political issues of her work on women, with a disassembly of her show Stabat Mater and debates on the issues raised by the work. EDUCATIONAL ACTIVITIES Educational Activities bring to discussion new pedagogies and ways of producing and transmitting knowledge. Also, ways to allow the rise of autonomy, new ways of inhabiting and live. The program began on February 13th, with the Olho no Olho artistic residency: Who Can Be Visible in São Paulo today? with British group Quarantine. In it, participants seek dialogue with people of different thoughts and ideologies – even conflicting ones. 8

Argentine Lisandro Rodriguez works the representation in Urgent Theatre residency: Agonizing Meeting, and the Portuguese performer, choreographer and researcher João Fiadeiro, 2020’s educator in focus, participates in a performing conversation and holds an artistic exchange from his Composition in Real Time methodology. In the exchange The Great Return: No Step Back, Guatemalan Regina José Galindo proposes coexistence and the fight against setback. Yet, Bolivian Maria Galindo rethinks the creative process within the politics field proposing a lab (Nuisance Presences: Where Is Defiance?) and a performance (The Invisible Cage). Peripheral bodies’ voice and representativeness are explored by artists such as Mexican Lia García, who runs a lab and presents a performance, and by Meeting of Theatra’s Pedagogy, program curated by Dodi Leal and coordinated by Maria Fernanda Vomero that brings together workshops, performances and debates to revive theatrical creation methodologies from the disruptive experiences of nondominant knowledge. SPECIAL PROGRAM Finally, a special program houses a tribute to director Francisco Medeiros; a panel to discuss the public and the reception issue, with Thomas Jolly and Flávio Desgranges; and the Anticolonial Perspectives Seminar, curated by Christine Greiner, Andreia Duarte and José Fernando Peixoto de Azevedo, which promotes reading exercises and meetings to think about epistemological issues within the anticolonial relationship.

MITsp 9

AT THE THIRD BELL A FESTIVAL NOT ONLY ENTERTAINS, BUT PROVOKES, AGITATES, CONVULSES. It creates outburst and produces bleeding. It confronts, as the nature of art always doubt the right, the solid, the smooth and the round. When it shows, it is more about the blind spots. If it hides, it is only provisionally, as a dramaturgical effect to what will be later revealed. A Festival doesn’t wish to save anything or anyone. Perhaps, at best, it will help save us from ourselves. But we don’t need to be saved by any country, family or religion. Damnation can be an option. Mainly because asexual and abstinent paradises are the very image of hell. Conversely, we want gluttony. How many gods are yet to be created to mask oppression and expropriation mechanisms? On the other hand, when our gods exist, they push us to life, to party, to the game. They intoxicate us until we laugh out loud at our pointless tragedy-comedy. A Festival has no nation. The participating countries are the artists themselves: the country Andréia Pires, the country Tiago Rodrigues, the country Janaina Leite, the country João Fiadeiro, among many others in this 7th edition of MITsp. All of them constituted by a cartography without borders, full of edges and folds, cliffs and surfaces. In our non-delimited territories, we despise the idea of people, so dear to the new authoritarian populists. We are a heterogeneous crowd and we believe in sharing the common. We also reject the idea of a homeland, as it creates a strained and false belonging that threatens our bastard freedom. We are prodigal children, pink-sheep, jilted or unwanted – but our brothers, we are the ones who choose them. In the lands we occupy, we don’t sing anthems or raise flags, so that the nationalism cancer dies of starvation and quits multiplying. Therefore, our art will never be national or heroic. In fact, a Festival has no heroes, it is built, little by little, by countless people. Workers like any other, even if they are denied or made invisible to that status. We must understand that the cicada and the ant inhabit the same bodies. And, for not having heroes, a festival is a vulnerable organism. It can end at any time, because those who work on it also feel exhausted, become weak, get sick in the face of continually adverse contexts. A Festival is not binary, but transdisciplinary and also transgender. That’s why it’s against the conninvence and the invisibility of daily transphobia. It’s urgent to denaturalize violence and the cult of ignorance to which we are being subjected by those in charge of this country. We must fight any political power that seeks 10

to imprison our bodies and libidos. Our desires are as fluid as our genders. We are proudly out of the box. And we don’t cut corners. Thus, no moralistic crusade will convert us. A Festival has no bibles or tablets of law. It is the exercise of contradiction, failure, groping in the dark, uncertainty, discomfort. And although the hunting season in Brazil for artists is in full swing, in the end, we will wreck rifles and revolvers. As there is no Index that makes us banned for a long time. The new religious inquisitions won’t resist and will be excreted through the holy holes. And the hypocritical conservative manipulations, which they call “curatorship”, which is actually “censorship”, will be unmasked. That a Festival, perhaps this one, can help us to leave Hamlet’s inaction towards fighting barbarism. May the shows presented in it help us to overcome collective depression, anesthesia, indifference and dangerous complacency. Let it offer antidotes against paralysis and other states of catatonia. Economics cannot be a justification for obscurantism. Under no circumstances. Therefore, let our bodies be involved, let our voices be activated, let our senses be enlarged and that all this could be shown. The third bell just sounded. Welcome all to the action!

ANTONIO ARAUJO

FOUNDER AND ARTISTIC DIRECTOR OF MITsp

INSURGENCY IN TIMES OF SCARCITY TO BECOME INSURGENT IN TIMES OF SCARCITY HAS ALWAYS BEEN MY CHALLENGE. I have always sought in artistic making the strength to transform scarcity into something crucial to bring about exchange, knowledge and dialogue. Throughout my course I have had many successful projects and others not so much, however, I remain committed as a citizen in the search and dignity of my artistic and intellectual choices. However complex our work may be, in a country where the artist is made invisible and marginalized by a large part of the population, this challenge makes the task a stellar effort! Do we resist or die?! In Brazil’s current political situation, I propose to review my “convictions”, “truths” and “certainties” before such dehumanization and authoritarianism. As a cultural manager and producer, I bring the thought and debate on the friction between idealization and execution of projects. Because the often-bureaucratic standoffs and the late responses of the resources to carry out the festivals, beside increasing the costs make us all sick. It is urgent and necessary for both public and private authorities to rethink the times and the ways of producing culture in our country. Medium and long-term planning has a direct impact on expenses reduction and gives greater visibility to both artistic actions and supporting institutions. Therefore, we all win. I believe the cultural sphere is a power! It is quite clear, through previous studies, that this is one of the sectors that generate more wealth for our country. I mean, we are talking about a labour market that generates millions of jobs. It is urgent to have in our hands the culture economic indicators in order to know exactly the power and wealth generated by the sector. That is why within the current scenario I appeal to all of us artists to organize around a national movement to develop this survey and show the strength of our area! Taking as an example MITsp 2020 edition, we generated something around 150 direct jobs and 300 indirect jobs. We put hotels, restaurants, theatres, public transport in motion, pay taxes and, in addition, we promote 63 free reflective and educational activities, 12 international shows and 13 national shows. With MITbr – Brazil Platform - Program for the Internationalization of Brazilian Performing Arts, one of the four axes of MITsp, we created a direct dialogue with 68 national and international programmers aiming at the circulation of Brazilian artists in festivals and exhibitions 12

around the world. In just two Platform editions we had the evidence of shows and artists being invited to perform at many festivals. Which shows the strength and the distinction of our artistic production. I regret that the three spheres of government have not yet developed public policies aimed at the internationalization of our artists. Is it not time to have a parliamentary group that advocates for our causes? Finally, I want to acknowledge our partners for their acceptance, be it economic or even hosting actions in their venues, as it would be impossible to hold the São Paulo International Theatre Festival without their support. I have always been grateful to Banco Itaú, Itaú Cultural, Secretaria Municipal de Cultura, Secretaria Estadual de Cultura e Economia Criativa, Sesc São Paulo, Sesi-SP, Sabesp, Porto Seguro, Veólia, Instituto Francês de Paris, French Consulate in São Paulo, Goethe-Institut and German Consulate in São Paulo, Pro Helvetia, British Council, Cultura Inglesa, Instituto Italiano, Instituto Camões and Consulate of Portugal in São Paulo. Thank you very much for believing and encouraging this Festival in such troubled times!

GUILHERME MARQUES

FOUNDER OF MITsp AND PRODUCTION DIRECTOR

BRAZILIAN SCENE: A LANDSCAPE OF INSURGENT BODIES BRAZIL SEEMS ETERNALLY URGENT. And the works comprising the MITbr – Brazil Platform 2020 mess up stagnant notions about the time we live in. In common, the fact that they do exist and despite the conservative forces of a government that does not rule, ignores the real meaning of politics and continues to take revenge on everything that contradicts their new old project of loving Brazilian colonialism, a government investing in propaganda that, at the end of the day, scatters that art is of no importance. In fact, it would not make sense for a project such as the one we are under, to invest in insubordination practices and definitely, even if contradictory, sometimes even subordinate, inserted in systems that support ugly power structures, art wants to be and it is libertarian. It moves. One of its biggest assumptions is movement. The wiggle in the world. The spin. And reaction is a movement pointing out routes for other actions, other creations to be born in unexpected places, plus devising spaces for this mobilizing hope called invention. Interest in an broaden and essentially experimental scene is present in MITsp’s DNA, we also try expending these shows’ geography of origin, creating other routes, taking risks and uncertainties to enable audience contact with many works that have not been widely toured in other States. We understand that thinking about a Brazilian scene demands territorial shifts, points of view migrations and interest in a Brazil that is not always observed. In the current political context, we have chosen to take a position of those who do not back down when facing moralism, puritanism and censorship forces. MITbr 2020 panorama of shows includes works that position the body as a “centre of the world”, as proposed by Foucault, from which “all possible places, real or utopian, radiate”. These are works that set a horizon for confronting and cultivating freedom of speech, the expansion of our subjective worlds, the possibility of divergent thinking and dialogue. We offer you a possible contemporary Brazilian scene landscape. If the landscape is the crossroad between a point of view and a space, the cluster of shows composing the program results from our sensitive contact with almost eight hundred artistic proposals received during the call, and this was our “space”. The landscape we 14

propose is just a way of looking at the performing arts production in this convulsing and dystopian Brazilian moment. This program made up of 13 shows represents an overview of the total of registered projects, thus, it is never possible in a single festival to reveal all the diversity, the verticality, endurance and strength of artistic creations and processes continuing to promote cognitive technology through its propositions and existential policies. We came to a small network of proposals - our landscape - echoing to a such porous system capable of sowing new connections and futures, also stable in its heterogeneous and related set! We try not to limit ourselves by labels of what is theatre, dance or performance, on the contrary, we were guided by the body: what world does it reveal to us? What do they say? What do they move? What can they make move? What landscapes do they open? How are we affected in the encounter with their agencying? These were some of the questions that guided our curatorial exercise and resulted in a hegemonic curation formed by works that operate on the performance pivot, more distanced from the idea of representation. Perhaps, a way of relating to these works is to be affected by notions such as: end of a party body; self-claimed body; marginal body; body and ancestry; body that can’t take it anymore; manifest body; party body; grievance body; insurgent body; fighting body. We wish you can also be moved and move and make move when meeting with the worlds that are announced in the action of these bodies here and now in this fierce and urgent Brazil.

ALEJANDRO AHMED, GRACE PASSÔ AND FRANCIS WILKER CURATORS OF MITbr – BRAZIL PLATFORM

SHOWS, DEMOCRACY AND BUSINESS SĂ&#x192;O PAULO INTERNATIONAL THEATRE FESTIVAL PROMOTES, for the third consecutive year, MITbr - Brazil Platform, a showcase of Brazilian spectacles selected by an exquisite curatorship and a program of performing arts internationalization. Throughout these years, the platform has proved to be a unique event for the promotion of Brazilian culture in circuits that were hitherto little explored. Since its debut, as a pilot project in 2018, the platform has been improving ways of bringing together national and foreign artists and curators, generating new opportunities to take Brazilian shows to other countries and audiences, fostering exchanges and business. The striking increase both of groups and artists enrolled in the 2020 selection (791 applications from 20 Brazilian states and the Federal District), as well as of professionals keen to follow the festival indicate that, despite the difficult moment the entire Brazilian cultural sector goes through, we continue to resist and to act, producing and promoting art. More than 60 programmers from four continents are confirmed for this edition, displaying countries with distinct socioeconomic and cultural realities. However, the reach of MITbr - Platform Brazil is much greater than that of a regular program. The selected shows cover an even greater diversity than that observed in previous editions, providing a broader choice of our scenic production. Altogether, there are 13 productions from ten Brazilian states, in diverse formats. Despite being a showcase for theatre, dance and performance production, it is also a privileged space for discussion on urgent topics such as transphobia, racism and crime. The work of mediation gains relevance in this context, by establishing a dialogue that goes beyond aesthetic experience and constitutes a pinnacle in the protection of human rights, democracy and citizenship construction. Meanwhile, it seeks to identify mutual interests that foster the converging between artists and curators. To this end, apart from establishing an intercultural dialogue, MITbr - Platform Brazil invests in the improvement of forms of communication, training the groups involved in productive dialogue with international programmers and producers. More than aiding the dialogue between artists and programmers, the mediation activities also aim to prepare the groups so that the meetings are productive, presenting materials that highlight the poetics of their shows while clarifying the specific needs of the production. 16

At the other end, the invited curators not only attend the shows, but also follow an intense schedule of meetings and exchanges so that the period they are in SĂŁo Paulo is, in fact, an immersive experience in the Brazilian performing arts and that generates business. In fact, there are those who wrinkle their noses when speaking of a performing arts market, but nowadays, denying it is to turn away from contemporaneity and disregard culture as an essential device of democratic construction. Today, being prepared to meet the demands of this market is a form of resistance in Brazilian culture, greatly assaulted in recent years. We know that performing arts are unique due to its ephemeral character, which makes the repetition of the same show never identical. At each presentation, the work is given in a singular way because it is about poetics created by the interaction between artists and audiences. Being internationalized, these aspects are greatly outlined, with inevitable losses, but which generate new strength. Working with mediation is, therefore, a way of considering what is lost and what remains, possible translations and limits that cannot be overcome. It is an exercise about fluency and the search for meanings, the continuous rebuilding that defines the performing arts. Now, when the conservative wave storms the world, awakening the most diverse discriminatory actions, bringing countries and people closer together becomes one of the most noble missions of MITsp.

FERDINANDO MARTINS

MITbr MEDIATION â&#x20AC;&#x201C; BRAZIL PLATFORM

MITsp PROGRAM

ARTIST IN FOCUS

BY HEART

Tiago Rodrigues PORTUGAL, 2013 | from 1h30min to 2h | PARENTAL RATING 12+ Teatro Faap 9 MON

10 TUE 9pm

11 WED 9pm

5 THU

6 FRI

7 SAT

8 SUN

12 THU 9pm

13 FRI

14 SAT

15 SUN

R$ 40 and R$ 20 (half-price) | Box office: Wednesdays to Saturdays, from 2pm to 8pm; Sundays, from 2pm to 5pm

The play’s story comes from the relationship between Tiago Rodrigues and his grandmother Cândida, a cook and diligent reader, who used to memorize excerpts from books, many given by his grandson on his visits. By Heart deals with the bond between literature and memory, especially the affective aspect of this relationship. It is a theatre that embraces itself as a space for sharing knowledge that cannot be measured, that is not tangible - such as the hiding spot that we create, in our brains and hearts, for prohibited texts during authoritarian regimes, memorizing the works and securing their survival over time. During the solo, the actor and director works on verses memorization while he talks about his almost blind grandma, about literary characters, writers and critics (like William Shakespeare, Boris Pasnernak, Ray Bradbury and George Steiner), also of a Dutch TV show called Beauty and Consolation.

HISTORY Actor, director and playwright, Tiago Rodrigues approaches the theatre as an assembly: a place to meet and share ideas. His work transits between reality and fantasy, filled with poetic sophistication. He worked with the tg STAN group and, in 2003, he co-founded the Mundo Perfeito group with Magda Bizarro. He was a theatre teacher at institutions such as the Belgian dance school PARTS, directed by Anne Teresa de Keersmaeker, the Swiss school of performing arts Manufacture and the international project École des Maîtres. Some of his works are By Heart, Antônio and Cleopatra, Bovary, Como Ela Morre and Blow, which debuted at Festival d’Avignon 2017. In 2018, he won the XV Europa Realidades Teatrais Award and received the title Knight of the Order of Arts and Letters by the French government, and recently received the 2019 Pessoa Award. Since 2015, he has been the artistic director of the National Theatre D. Maria II.

PH OTO M AG DA B I Z A R RO

TEXT, ENACTING AND PERFORMANCE Tiago Rodrigues WITH FRAGMENTS AND QUOTES FROM William Shakespeare, Ray Bradbury, George Steiner e Joseph Brodsky, entre outros SET, PROPS AND COSTUMES Magda Bizarro EXECUTIVE PRODUCTION Rita Forjaz EXECUTIVE PRODUCTION IN ORIGINAL CONCEPT Magda Bizarro e Rita Mendes PRODUCTION Teatro Nacional D. Maria II, from an original creation by Mundo Perfeito company CO-PRODUCTION O Espaço do Tempo, Maria Matos and Teatro Municipal THE SHOW’S CONCEPT WAS SUPPORTED BY THE GOVERNMENT OF PORTUGAL | DGARTES AND INSTITUTO CAMÕES

ARTIST IN FOCUS

BLOW SOPRO

Tiago Rodrigues PORTUGAL, 2017 | 1h45min | PARENTAL RATING 12+ 5 THU

6 FRI

7 SAT

8 SUN

12 THU

13 FRI 8pm

14 SAT 8pm

15 SUN 7pm

Teatro Sesi SP 9 MON

10 TUE

11 WED

Free | Box office: new online reservation opens on March 9th, at 8am. Reservations are guaranteed until 15 minutes before the show. Each person can reserve up to 2 tickets

A theatre and its backstage homage, the show is built from the memories of Cristina Vidal, who for almost 30 years has worked as a prompter (the person who blows the lines for actors who forget the text) at the National Theatre D. Maria II, in Lisbon. This shadow character is on the stage for the first time, accompanied by five actors. In a ruined theatre simulated set, with weeds growing in the middle of the boards, she appears with text in hand, blowing the lines to the cast. It is through them, the performers, that Vidal recounts her trajectory and the history of the theatre itself. Guardian of an activity on the brink of extinction, she calls real and fictional memories, mixing the offstage stories, ghosts of artists who have been there and classic dramaturgy, such as texts by Chekhov, Racine and Molière.

TEXT AND PERFORMANCE Tiago Rodrigues

National de Marseille, Le Parvis Scène

WITH Beatriz Maia, Cristina Vidal, Isabel

Nationale Tarbes Pyrénées, Festival Terres

Abreu, Marco Mendonça, Romeu Costa and

de Paroles Seine-Maritime – Normandie,

Sara Barros Leitão

Théâtre Garonne Scène Européenne and

ORIGINAL CAST Beatriz Brás, Cristina Vidal,

Teatro Viriato

Isabel Abreu, João Pedro Vaz, Sofia Dias and

SUPPORTED BY Onda

Vítor Roriz

ACKNOWLEDGEMENTS Agnès Troly,

SET AND LIGHTING DESIGN

Beatriz Maia, Carla Bolito, Carla Galvão,

Thomas Walgrave

David Pinto, Filipa Matta, João Coelho, Julie

COSTUMES Aldina Jesus

Bordez, Magda Bizarro, Marco Mendonça,

SOUND DESIGN Pedro Costa

Mariana Magalhães, Paul Rondin, Romeu

DIRECTION ASSISTANT

Costa, Sara Barros Leitão, Teresa Coutinho,

Catarina Rôlo Salgueiro

equipe do Festival d’Avignon, equipe técnica

LIGHTING TECHNICIAN Daniel Varela

do Cloître des Carmes and ICA – Instituto do

EXECUTIVE PRODUCTION Rita Forjaz

Cinema e Audiovisual

PRODUCTION ASSISTANT Joana Costa Santos

SUPPORTED BY INSTITUTO CAMÕES

PRODUCTION Teatro Nacional D. Maria II CO-PRODUCTION ExtraPôle ProvenceAlpes-Côte d’Azur, Festival d’Avignon, Théâtre de la Bastille, La Criée Théâtre PH OTO FI L I PE FE R R E I R A

BURGERZ

Travis Alabanza UNITED KINGDOM, 2018 | 1h10min | PARENTAL RATING 14+ Centro Cultural São Paulo 9 MON

10 TUE

11 WED

5 THU

6 FRI

7 SAT

8 SUN

12 THU

13 FRI 7pm

14 SAT 7pm

15 SUN 7pm

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

After someone threw a hamburger and shouted a transphobic offense to Travis Alabanza in broad daylight on London’s Waterloo Bridge, and none of the passers-by said anything, they*, who defines himself as a non-binary person, became obsessed with hamburgers: how they are made, their texture and smell and how they travel through the air. This interactive solo is the climax of hir compulsion. Alabanza, one of the prominent trans voices in the UK, uses the audience to explore in a sharp and amiable way how trans bodies survive and how, after recovering from an act of violence, they can achieve their own complicity. * Non-binary pronoun “they” replace the personal pronouns “she” or “he”. These are terms that do not delimit gender, since non-binary people do not identify themselves as feminine or masculine.

CREATION AND HISTORY Travis Alabanza performs, writes and directs films in London. As one of the UK’s most prominent trans artistic voices, over the past four years Alabanza has initiated much of the public talks about the intersections between blackness, gender, trans visibility and class. Hir work crosses means and forms, including performances carried out in venues such as Tate, Victoria and Albert Museum, Southbank Centre, ICA, Lyric Hammersmith, Transmission Gallery and Royal Exchange Theatre, and presentations at festivals such as the Hamburg International Feminist Festival. The Guardian, Buzzfeed and Independent are some of the media that published hir writings. Between 2017 and 2018, he starred in Chris Goode’s adaptation of Jubilee, released his first poetry book, Before I Step Outside (You Love Me) and was a resident artist at Tate Galleries. He recently performed in Ridiculous of Darkness (Gate Theatre) and I Wanted to Fuck up the System But None of My Friends Texted Back (Wellcome Collection / The Sick of the Fringe).

PH OTO E L I S E RO S E

PERFORMANCE Travis Alabanza DIRECTION Sam Curtis Lindsay SET AND COSTUMES DESIGN Soutra Gilmour ASSOCIATED DESIGNER Isabella van Braeckel LIGHTING DESIGN Lee Curran & Lauren Woodhead SOUND DESIGN XANA MOVEMENT Nando Messias SUPPORTED BY THE BRITISH COUNCIL

INMORAL TALES – PART 1: MOTHER HOUSE CONTES IMMORAUX – PARTIE 1: MAISON MÈRE

Phia Ménard FRANCE, 2017 | 1h30min | PARENTAL RATING FREE Sesc Pinheiros 9 MON

10 TUE

11 WED

5 THU

6 FRI 9pm

7 SAT 9pm

8 SUN 6pm

12 THU

13 FRI

14 SAT

15 SUN

R$ 40 and R$ 20 (half-price) | Box office: Tuesdays to Fridays, from 10am to 9pm; Sundays and holidays, from 10 am to 6:30pm. Each person can by up to four tickets

The show was designed for the 14th edition of the Documenta, held in 2017 between the cities of Kassel, home of the contemporary art exhibition, and Athens. Based on the themes raised by the exhibition - the decentralization of art, the concepts of centre and periphery, the role of the artist in a world in conflict -, the French Phia Ménard reflects on the identity and problems of Europe today, drawing a parallel between two cities: the German Kassel, in the European “rich north”, and the Greek Athens, immersed in crises. Onstage, dressed as a futuristic Greek goddess, she begins to build a structure made entirely of cardboard, simple and fragile. It goes back to the Marshall Plan (which intended to rebuild post-war Europe), making repetitive and robotic gestures in this effort to create a home for the continent and its homeless, its refugees.

HISTORY French Phia Ménard studied modern dance, mime, acting and juggling. In 1998, along with Le Grain, she founded the Non Nova group, which seeks a new way of juggling through the scenic and dramaturgical structure, and focuses on multidisciplinary works, with artists from different backgrounds. The project ICE. - Injonglabilité Complémentaire des Eléments, a research on the transformation, erosion and sublimation of materials, projected Ménard’s career in a new way, especially with P.P.P. (Position Parallèle au Plancher) staging, in 2008, in which she used ice as the element. The metamorphosis seen in the show became a symbol of her sexual transition, which occurred at the same time. After that, she toured with L’Après-Midi d’un Foehn and Vortex becoming an important voice on gender issues. In 2014, she received the title Chevalier de l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) from the French government and, in the following year, became an associate artist at the Théâtre Nouvelle GénéraYon - Centre DramaYque NaYonal Lyon and the Centre Chorégraphique NaYonal de Caen / Basse-Normandie. In 2017, Immoral Tales - Part 1: Mother House debuted in documenta 14. The project foresees two other parts, Temple Père (Father Temple) and La Rencontre Interdite (The Forbidden Encounter).

PH OTO S J E A N - LU C B E AU J AU LT

DRAMATURGY AND STAGE DIRECTION Phia Ménard and Jean-Luc Beaujault PERFORMANCE AND SCENOGRAPHY Phia Ménard MUSIC AND SOUND SPACE Ivan Roussel STAGE MANAGERS Jean-luc Beaujault, Pierre Blanchet and Rodolphe Thibaud COSTUMES Fabrice Ilia Leroy TECHNICAL MANAGER Olivier Gicquiaud CO-DIRECTOR, PRODUCTION AND ADMINISTRATION Claire Massonnet PRODUCTION ASSISTANT Clarisse Mérot PUBLIC RELATIONS Adrien Poulard ASSISTANT TOURING COORDINATOR Lara Cortesi EXECUTIVE PRODUCTION Compagnie Non Nova CO-PRODUCTION documenta 14 – Kassel and Le Carré, Scène Nationale e Centre d’Art Contemporain do Château-Gontier. NON NOVA IS SUBSIDISED BY THE FRENCH MINISTRY OF CULTURE AND COMMUNICAYON – DRAC DES PAYS DE LA LOIRE, NANTES CITY COUNCIL, THE CONSEIL RÉGIONAL DES PAYS DE LA LOIRE, THE CONSEIL DÉPARTEMENTAL DE LOIRE-ATLANYQUE, THE INSTITUT FRANÇAIS (FRANCE’S INTERNAYONAL CULTURAL RELAYONS BODY) AND THE BNP PARIBAS FOUNDAYON. THE COMPANY IS BASED IN NANTES. THE COMPANY NON NOVA / PHIA MÉNARD IS CURRENTLY ASSOCIATED ARYST AT MALRAUX SCÈNE NAYONALE CHAMBERY SAVOIE, AND THE «TNB, CENTRE EUROPÉEN THÉÂTRAL ET CHORÉGRAPHIQUE DE RENNES ». THE PROJECT “MOTHER HOUSE” HAS RECEIVED A SPECIAL SUPPORT FROM THE INSYTUT FRANÇAIS AND THE CITY OF NANTES. SUPPORTED BY THE CONSULATE GENERAL OF FRANCE IN SÃO PAULO AND INSTITUT FRANÇAIS

FARM FATALE

Philippe Quesne and Münchner Kammerspiel FRANCE/GERMANY, 2019 | 1h30min | PARENTAL RATING 12+ Sesc Vila Mariana 9 MON

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R$ 40 and R$ 20 (half-price) | Box office: Tuesdays to Fridays, from 9am to 9:30pm; Sundays and holidays, from 9am to 6pm. Each person can by up to four tickets

In Farm Fatale, director Philippe Quesne evokes the imaginary of country life. But this rural space, once idyllic, now appears in a dystopian future already completely abandoned. The sounds of nature dissipated, birds and insects disappeared and people left. There is only a group of scarecrows left, five ingenious figures who try to remember the past and, little by little, fill this empty place. They bring elements to the naked stage, join together in an independent radio program, make music, discuss environmental problems and even throw themselves into philosophical questionings. Masked, with a distort voice and an unbending walk, as if they were zombies, these characters use humor and irony in the search for a new beginning, in the utopia of a new and better world - a world without people.

HISTORY One of the leading German groups, Münchner Kammerspiele has operated since 1933 as Munich’s municipal theatre. The group seeks dialogue and a confrontation with the present and invests in a contemporary aesthetic, with a sociopolitical focus. In 2015, the institution sought to expand its artistic range, working with directors such as Philippe Quesne, Rabih Mroué and Toshiki Okada. Farm Fatale, is Quesne’s second staging within the German institution - the first was Caspar Western Friedrich. With a degree in visual arts, the French director worked for ten years developing sets. When directing he creates shows with a strong connection between space, set and bodies. In 2003, he founded the Vivarium Studio group, bringing together actors, visual artists and musicians, in a research placed between the playful and the melancholic. Since 2014, he is the codirector of the French theatre Nanterre-Amandiers.

PH OTO M A R T I N A RG Y RO G LO

CONCEPTION, DIRECTION, SETTING, COSTUMES AND STAGE PRODUCTION Philippe Quesne ENSEMBLE Léo Gobin, Stefan Merki, Damian Rebgetz, Julia Riedler e Gaëtan Vourc’h ARTISTIC ASSISTANCE STAGE Nicole Marianna Wytyczak ARTISTIC ASSISTANCE COSTUME Nora Stocker LIGHTING Pit Schultheiss DRAMATURGY Martin Valdés-Stauber PRODUCER Münchner Kammerspiele, in co-production with Nanterre-Amandiers, Centre Dramatique National SUPPORTED BY THE CONSULATE GENERAL OF THE FEDERAL REPUBLIC OF GERMANY, GOETHE-INSTITUT, THE CONSULATE GENERAL OF FRANCE IN SÃO PAULO AND INSTITUT FRANÇAIS

CROWD

Gisèle Vienne FRANCE, 2017 | 1h30min | PARENTAL RATING 14+ Auditório Ibirapuera 9 MON

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R$ 30 and R$ 15 (half-price) | Box office: Fridays and Saturdays, from 1pm to 10pm; Sundays, fom 1pm to 8pm. February 28th and 29th and March 1st, from 1pm to 7pm *Opening ceremony (for guests)

In the play by the Franco-Austrian artist Gisèle Vienne, 15 young people experience an emotional roller coaster during a techno party. Guided by a musical selection that brings together renowned artists in the history of dance music, such as DJ Rolando, Global Communication and Jeff Mills, the dancers experience intense situations and reach altered states of their senses. They do it by shaping the speed of their bodies’ movements at predominantly collective moments, without ignoring the individual narratives through which each one of them endures on that night. Vienne, whose work examines the relationship between the artistic and the religious - coming up against complex issues of human behavior, such as eroticism and violence -, creates a game of rhythms that provokes the impression of time distortion, referring to a hallucinogenic and hypnotic sensation.

HISTORY Gisèle Vienne is a Franco-Austrian artist, choreographer and director. After graduating in Philosophy, she studied at the puppeteering school École Supérieure Nationale des Arts de la Marionnette. She works regularly with writer Dennis Cooper, musicians Peter Rehberg and Stephen O’Malley and light designer Patrick Riou, among other artists. Her works move between languages (performing arts, fine arts, cinema) to dissect human relations, the artistic and the religious. Vienne directed and choreographed various works with the collaboration of Dennis Cooper, including I Apologize (2004), Kindertotenlieder (2007), Jerk (2008), This Is How You Will Disappear (2010), The Pyre (2013), The Ventriloquists Convention (2015) e Crowd (2017). She also regularly exhibits her photographs and installations.

PH OTO S E S T E L L E H A N A N I A E M AT H I L D E DA R E L

CONCEPTION, CHOREOGRAPHY AND SCENOGRAPHY Gisèle Vienne ASSISTED BY Anja Röttgerkamp and Nuria Guiu Sagarra LIGHTS Patrick Riou DRAMATURGY Gisèle Vienne and Denis Cooper MUSIC SELECTIONS FROM Underground Resistance, KTL, Vapour Space, DJ Rolando, Drexciya, The Martian, Choice, Jeff Mills, Peter Rehberg, Manuel Göttsching, Sun Electric and Global Communication EDITS, PLAYLIST SELECTION Peter Rehberg SOUND DIFFUSION SUPERVISOR Stephen O’Malley

PERFORMERS Lucas Bassereau, Philip Berlin, Marine Chesnais, Sylvain Decloitre, Sophie Demeyer, Vincent Dupuy, Massimo Fusco, Rehin Hollant, Georges Labbat, Theo Livesey, Katia Petrowick, Linn Ragnarsson, Jonathan Schatz, Henrietta Wallberg and Tyra Wigg COSTUMES Gisèle Vienne in collaboration with Camille Queval and the performers SOUND ENGINEER Mareike Trillhaas TECHNICAL MANAGER Richard Pierre STAGE MANAGER Antoine Hordé LIGHT MANAGER Arnaud Lavisse SPECIAL THANKS Louise Bentkowski, Dominique Brun, Patric Chiha, Zac Farley, Uta Gebert, Margret Sara Guðjónsdóttir, Isabelle Piechaczyk, Arco Renz, Jean-Paul Vienne and Dorothéa Vienne-Pollak PRODUCTION & BOOKING Alma Office, Anne-Lise Gobin, Alix Sarrade, Camille Queval & Andrea Kerr ADMINISTRATION Etienne Hunsinger & Giovanna Rua EXECUTIVE PRODUCER DACM COPRODUCERS Nanterre-Amandiers, Centre Dramatique National / Maillon, Théâtre de Strasbourg – Scène Européenne / Wiener Festwochen / Manège, Scène Nationale – Reims / Théâtre National de Bretagne / Centre Dramatique National Orléans/Loiret/Centre / La Filature, Scène Nationale – Mulhouse / BIT Teatergarasjen, Bergen SUPPORT CCN2 – Centre Chorégraphique National de Grenoble / CND Centre National de la Danse DEDICATED TO Kerstin THE COMPANY GISÈLE VIENNE IS SUPPORTED BY MINISTÈRE DE LA CULTURE ET DE LA COMMUNICATION – DRAC GRAND EST, LA RÉGION GRAND EST AND VILLE DE STRASBOURG. THE COMPANY IS SUPPORTED BY INSTITUT FRANÇAIS FOR INTERNATIONAL TOURING. GISÈLE VIENNE IS ASSOCIATE ARTIST AT THE NANTERRE-AMANDIERS, CENTRE DRAMATIQUE NATIONAL AND AT THE THÉÂTRE NATIONAL DE BRETAGNE, DIRECTION ARTHUR NAUZYCIEL. SUPPORTED BY THE CONSULATE GENERAL OF FRANCE IN SÃO PAULO AND INSTITUT FRANÇAIS

JERK

Gisèle Vienne FRANCE, 2008 | 55min | PARENTAL RATING 18+ Teatro Sérgio Cardoso 9 MON 7pm

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R$ 40 and R$ 20 (half-price) | Box office: from Tuesdays to Saturdays, from 2pm to 7pm

The result of a partnership between the American writer Dennis Cooper and the FrancoAustrian director Gisèle Vienne, the solo is an imaginary, strange and dark reconstruction of the crimes committed by serial killer Dean Corll (1939-1973), known as the Candy Man. Helped by teenagers David Brooks and Elmer Wayne Henley, he tortured, raped and executed more than 20 boys in the city of Houston, Texas, in the mid-1970s. The play, performed by French ventriloquist Jonathan Capdevielle, shows David Brooks serving his life sentence. In the plot created by Cooper, Brooks learned the art of puppetry and in the prison, he presents, for a class of psychology students, a show in which he reconstructs the murders using the puppets. Violent and comical, the show examines the notions between the fantastic and the real and questions what happens when fantasy is truly lived.

FROM A NOVEL OF Dennis Cooper DIRECTED BY Gisèle Vienne DRAMATURGY Dennis Cooper MUSIC Peter Rehberg (original music) and El Mundo Frio of Corrupted LIGHTS Patrick Riou PERFORMED BY AND CREATED IN COLLABORATION WITH Jonathan Capdevielle RECORDED VOICES Dennis Cooper and Paul P STYLISME Stephen O’Malley and Jean-Luc Verna PUPPETS Gisèle Vienne and Dorothéa Vienne Pollak MAKEUP Jean-Luc Verna and Rebecca Flores COSTUMES Dorothéa Vienne Polak, Marino Marchand and Babeth Martin VENTRILOQUISM TEACHING Michel Dejeneffe WITH THE TECHNICAL TEAM OF Quartz - Scène Nationale de Brest TECHNICAL DIRECTION FOR THE CREATION Nicolas Minssen TEXT TRANSLATION FROM ENGLISH TO FRENCH Emmelene Landon DRAWINGS Jean-Luc Verna, Courtesy Air de Paris PH OTO S A L A I N M O N OT

THANKS TO Atelier de Création Radiophonique by France Culture, Philippe Langlois and Franck Smith. For Sophie Bissantz for the sound effects. Voices and sound effects were recorded at the Atelier de Création Radiophonique. Also, for Justin Bartlett, Nayland Blake, Alcinda CarreiraMarin, Florimon, Ludovic Poulet, Anne S - Villa Arson, Thomas Scimeca, Yury Smirnov, Scott Treleaven, the Air gallery in Paris, Tim / IRIS and Jean-Paul Vienne. PRODUCTION AND DISTRIBUTION AnneLise Gobin, Alix Sarrade, Camille Queval and Andrea Kerr ADMINISTRATION Etienne Hunsinger and Giovanna Rua ASSOCIATE PRODUCER DACM CO-PRODUCTION Le Quartz - Scène Nationale de Brest, Centre Chorégraphique National de Franche-Comté à Belfort dans le Cadre de l’Accueil-Studio and ParragaMurcia Centre. With the support of Conseil Général de l’Isère, Ville de Grenoble and the Ménagerie de Verre in the framework of studiolab THE COMPANY DACM IS SUPPORTED MINISTÈRE DE LA CULTURE ET DE LA COMMUNICATION – DRAC GRAND EST, BY RÉGION GRAND EST AND BY THE CITY OF STRASBOURG. THE COMPANY DACM IS REGULARLY SUPPORTED BY INSTITUT FRANÇAIS FOR ITS INTERNATIONAL TOURING. GISÈLE VIENNE IS ASSOCIATED ARTIST AT THE THEATER NANTERRE-AMANDIERS FROM 2014, AND AT THE THÉÂTRE NATIONAL DE BRETAGNE. SUPPORTED BY THE CONSULATE GENERAL OF FRANCE IN SÃO PAULO AND INSTITUT FRANÇAIS

THE CLAIM

Mark Maughan and Tim Cowbury UNITED KINGDOM, 2017 | 1h15min | PARENTAL RATING 12+ Teatro Cultura Inglesa Pinheiros 9 MON

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

First partnership between director Mark Maughan and playwright Tim Cowbury, the show explores the flaws and injustices of refugee asylum systems. The play starts with Serge’s story, an exile from Congo, who comes across a British immigration officer. The conversation, initially friendly and welcoming, soon proves to be somewhat cut short. Despite knowing the refugee’s language, the agent does not seem to understand him or let him tell his story. Disagreements increase with the arrival of a second officer, who does not speak Serge’s French, and the interview of the immigrant, with bureaucratic questions and misinterpretations. In a comic and absurd tone, the narrative invests in the strength of the text, full of word games. Thus, it questions the purpose of asylum organizations, bound to a Kafkaesque system - the title of the play, by the way, is a reference to The Process, by Franz Kafka–, and debates our lack of listening to the other.

HISTORY Playwright Tim Cowbury is one of the founders of the Made in China group, he was part of productions such as Get Stuff Break Free (National Theatre), Gym Party (Battersea Arts Centre) and Double Double Act (Unicorn Theatre), he studied dramaturgy at the Royal Court Theatre and coordinated writing groups at the Arcola Theatre and Battersea Arts Centre. He holds a master’s degree in dramaturgy from Goldsmiths University, where he received a research grant in arts and humanities. Director Mark Maughan studied modern and medieval languages at the University of Cambridge and holds a master’s degree in Theatre direction from the University of London. He staged shows like Unwritten Letters (Bush Theatre) and C’Est la Vie (The Coronet Theatre). The Claim’s research, the first collaboration between Cowbury and Maughan, also developed to the video installation I Am Just My Words, a series of interviews with immigrants who sought asylum. PH OTO J O H N H U N T E R

TEXT Tim Cowbury DIRECTOR Mark Maughan CAST Tonderai Munyevu, Nick Blakeley and Indra Ové SET DESIGN Emma Bailey SOUND DESIGN Lewis Gibson LIGHTING DESIGN Joshua Pharo PRODUCER Lauren Mooney SUPPORTED BY CULTURA INGLESA

EDUCATOR IN FOCUS

WHAT TO DO WITH WHAT REMAINS O QUE FAZER DAQUI PARA TRÁS

João Fiadeiro PORTUGAL, 2015 | 60min | PARENTAL RATING 12+ Teatro Cacilda Becker 9 MON 7pm

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

In What to Do With What Remains, João Fiadeiro explores time - enduring, suspended, interspace - and puts his attention on what remains, what has been forgotten, on the “rest”. The rest creates emptiness: it is proof of the absence of a presence - or rather, it is the presence of an absence. It is in the rest that the traces and tracks are found to start the impossible task of rebuilding the world, over and over again. The rest is also what lies between the body and the presence of the other, a permanent escape from things that are not yet, to what things can be. The show, which criticizes the urgency and the rushed routine, is positioned between doubt and possibility. The unspoken is more important than what is said, absence overlaps presence and the drama does not come from the theatre, but from what the bodies - of performers and spectators - can do, have and bring.

HISTORY Performer, choreographer and researcher, João Fiadeiro is part of the generation that emerged in the 1980s and gave rise to the Nova Dança Portuguesa (New Portuguese Dance). His shows cruise between disciplines (performance, dance and theatre), contexts (theatres, museums or site specific) and formats (choreographies, events or conferences). He was the artistic director of Atelier RE.AL. and collaborated intensively with the group Artistas Unidos. In the 1990s, Fiadeiro developed his own research on improvisation and composition, Composition in Real Time. He directed the project AND_Lab with anthropologist Fernanda Eugénio and curated alongside Romain Bigé the exhibition Sketches of Interior Techniques, retrospective look at Steve Paxton’s work. PH OTO PAT R I C I A A L M E I DA

CONCEPT AND DIRECTION João Fiadeiro DIRECTION ASSISTANCE Carolina Campos PERFORMANCE AND CO-CRIATION Adaline Anobile, Carolina Campos, Márcia Lança, Iván Haidar and Daniel Pizamiglio LIGHTING DESIGN Colin Legran TECHNICAL DIRECTION Leticia Skrycky CO-PRODUCTION Teatro Maria Matos (Lisbon) and Rivoli Theatre (Porto) INTERNATIONALIZATION SUPPORT Directorate-General for the Arts / Government of Portugal INSTITUTIONAL SUPPORT Lisbon City Council ART RESIDENCIES Arquipélago / Centre of Contemporary Arts (Açores), Santarcangelo Dei Teatri (Italy) and Atelier Real (Lisbon) THE SHOW’S CONCEPT WAS SUPPORTED BY THE GOVERNMENT OF PORTUGAL | DGARTES

BE CAREFUL Mallika Taneja

INDIA, 2013 | 35min | PARENTAL RATING 14+ Itaú Cultural 9 MON

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Free | Online reservations on www.itaucultural.org.br/secoes/ingressos-on-line (one ticket per person; preferential audiences have the right to one companion)

The solo of artist Mallika Taneja challenges the notion of safety that permeates the women’s lives in India. Being careful in relation to their behavior and attitudes is considered fundamental: it is something prescribed, absorbed and practiced with ordeal so that they survive without risks - as if they were responsible for avoiding the brutalities that affect them. Filled with anger at everyday violence against women, such as the photojournalist who was the victim of collective rape in Mumbai in 2013, the artist ironically and provocatively exposes a sexist culture that hides behind moral traditions and identifies the contradictions at the heart of India’s social progress. Using a bunch of clothes, Taneja presents a satirical piece confronting the disparity between the way women dress and the horrors practiced against them.

PERFORMED BY Mallika Taneja HISTORY Mallika Taneja is a theatre artist from New Delhi, India, whose work deals with issues of the city’s gender experiences, mental health and sexuality. She is part of collectives such as Women Walk at Midnight, Women for Theatre and Sex Chat Roo. The play Be Careful toured Europe and was performed in places like Australia, Japan, Sri Lanka and England.

PH OTO DAV I D WO H L S C H L AG

TOUR AND PRODUCTION MANAGER Meghna Singh Bhadauria INTERNATIONAL DISTRIBUTION Judith Martin and Ligne Directe THIS PIECE WAS FIRST CREATED AT THE TADPOLE REPERTORY IN 2013 AS PART OF THEIR SHOW NDLS

YOU SHALL LOVE TÚ AMARÁS

Bonobo CHILE, 2018 | 1h15min | PARENTAL RATING 16+ Teatro Porto Seguro 9 MON

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R$ 40 and R$ 20 (half-price) | Box office: Tuesdays and Sundays, from 12am until the beginning of the show (in the days when there are no performances, the box office closes at 6pm)

In the show You Shall Love, the Chilean group Bonobo continues its research on the violence committed against “others” in a democratic society - the title alludes to the Christian commandments. In this ironic comedy, a group of Chilean doctors is preparing for an international conference on prejudice in medicine. The debate, permeated by questions such as who the enemy is and how it is built, becomes more complex due to the recent arrival of the Amenitas, aliens who settled on Earth. Misunderstood, diminished and feared, these beings offer the opportunity for the group to reflect on the love, violence and hatred implicit in their relationship with the “outsiders”. Awarded in Chile and Japan, the play was developed in residencies at Espacio Checoeslovaquia, in Santiago, and at the Baryshnikov Arts Center, in New York.

DRAMATURGY Pablo Manzi HISTORY Bonobo is a theatre company founded in 2012 by artists Pablo Manzi and Andreina Olivari proposing to bring to the stage new works that stimulate the viewer’s critical reflection. Through a collective creation methodology emphasizing research and improvisation, they have become one of the most respected young groups in Chilean theatre. Its repertoire includes the shows Amansadura (2012), Donde Viven los Bárbaros (2015) and You Shall Love (2018), which took part in festivals in Germany, Belgium, Holland, Spain, Italy, Sweden, Japan, Mexico, Brazil, Peru and Chile.

PH OTO M A RC U S E X AV E R I U S

DIRECTORS Andreina Olivari and Pablo Manzi CAST Gabriel Cañas, Carlos Donoso, Paulina Giglio, Guilherme Sepúlveda and Gabriel Urzúa SET, LIGHT AND COSTUME DESIGN Felipe Olivares and Juan Andrés Rivera ORIGINAL MUSIC Camilo Catepillán TECHNICAL MANAGER Raúl Donoso PRODUCTION Horacio Pérez COPRODUCTION Espaço Checoeslovaquia and Fundación Teatro a Mil THIS SHOW IS SUPPORTED BY DIRAC MINISTRY OF FOREIGN AFFAIRS OF CHILE

SAMEDI DÉTENTE

Dorothée Munyaneza

RWANDA/FRANCE, 2014 | 1h15min | PARENTAL RATING 16+ Sesc Avenida Paulista 9 MON

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R$ 40 and R$ 20 (half-price) | Box office: Tuesdays to Fridays, from 10am to 9:30pm; Sundays and holidays, from 10am to 6pm. Each person can by up to two tickets

Through her childhood memories, Rwandan Dorothée Munyaneza recounts the civil war that ravaged her country in 1994, leading to the genocide of 800 thousand people. The artist was almost 12 when she found herself in the midst of war, since then she has not been able to listen to Samedi Détente (something like Relaxed Saturday, in French), a radio show that shook the country’s entire population with songs from all over the world. Though the songs from that time still revisit the artist’s mind and body, bringing the memories of friends and family. In a kind of scenic testimony, Munyaneza tries to elucidate the horrors of the conflict through these emotive memories. Her war stories’ narrative is a mix of theatre, dance and music and brings elements relating to the conflicts’ routine, such as tables and canvases (used as shelters against the shootings) and various layers of clothes (her shields).

HISTORY Born in Rwanda, Dorothée Munyaneza left her country at the age of 12 during the 1994 civil war. She settled with her family in England, where she studied music at the Jonas Foundation and social sciences in Canterbury. She soon after moved to France, where she produced works as a musician, author and choreographer. Her works come from real events to capture their echoes in the memory and in the body, individually and collectively, giving voice to those who have been silenced. In 2004, The artist composed and performed the soundtrack for the film Hotel Rwanda, by Terry George, and six years later released her first solo album, recorded with producer Martin Russell. With Saturday Trigger, her first play, she founded the company Kadidi in 2013, and premiered her second show, Unwanted, at the 2017 Avignon Festival. As an associate artist at the Théâtre de la Ville, in Paris, she presented along musicians Benjamin Colin and Daniel Ngarukiye the concert-performance Woad, in 2019. Munyaneza’s next work, MAILLES, will bring together Afro-descendant artists from around the world and is expected to premiere in October 2020 in Chaleroi, Belgium.

PH OTO S J O S É C A L D E I R A

CONCEPTION, CHOREOGRAPHY AND DIRECTION Dorothée Munyaneza WITH Nadia Beugré, Kamal Hamadache and Dorothée Munyaneza OUTSIDE-EYE Mathurin Bolze LIGHTING DESIGN Christian Dubet SET DESIGN Vincent Gadras COSTUME DESIGN Tifenn Morvan STAGE MANAGER Frédérique Melin SOUND MANAGER Camille Frachet PRODUCTION Compagnie Kadidi, Anahi Production PRODUCTION MANAGER Emmanuel Magis, Anahi PRODUCTION ASSISTANT Leslie Fefeu CO-PRODUCTION Théâtre de Nîmes - Scène Conventionnée pour la Danse, Théâtre La Passerelle - Scène Nationale de Gap et des Alpes du Sud, Bois de l’AuneAix-en-Provence, Théâtre des Salins - Scène Nationale de Martigues, L’Onde - Théâtre Centre d’Art de Vélizy-Villacoublay, Pôle Sud - CDCN Strasbourg, Théâtre Jacques Prévert - Aulnay-sous-Bois, Le Parvis - Scène Nationale de Tarbes, Théâtre Garonne Toulouse, Réseau Open Latitudes 2 WITH THE SUPPORT OF Cultural European Program, Théâtre de Liège, Théâtre de la Ville - Paris, BIT Teatergarasjen - Bergen. With the support of Théâtre Le Monfort – Paris, Friche Belle de Mai–Marseille, of DRAC (Regional Direction of Cultural Affairs), PACA - Ministry of Culture and Communication, of SACD, Association Beaumarchais, Arcadi Îlede-France, ADAMI and Mairie of Paris. SUPPORTED BY THE CONSULATE GENERAL OF FRANCE IN SÃO PAULO AND INSTITUT FRANÇAIS

VIDEO-MUSICAL INSTALLATION

ORLANDO

Julie Beauvais and Horace Lundd SWITZERLAND/FRANCE, 2017 | 60min | PARENTAL RATING FREE Teatro Sérgio Cardoso 9 MON

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R$ 40 and R$ 20 (half-price) | Box office: Tuesdays to Saturdays, from 2pm to 7pm

Virginia Woolf’s novel about an androgynous character, swirling between male and female, Orlando is the kickoff of this opera-installation, which combines choreography, videos and live music within an immersive set, by which the audience can circulate. Directed by the Swiss Julie Beauvais and the French Horace Lundd, the work investigates gender and identity, themes dealt in the book, and asks who would be the Orlandos of today, inhabitants of a world immersed in the post-binary paradigm. On the seven screens surrounding the installation, characters from Berlin, Kinshasa, Marfa, London, Belo Horizonte, Lisbon, Chandolin, Patagonia and Netherlands are projected side by side, all filmed in outdoor and ethereal scenarios, connecting the horizon of many regions of the world. * After the presentation the artists have a talk with the audience

HISTORY Swiss Julie Beauvais moves around opera, theatre, dance, architectural interventions, videos and performative installations. Her works explore the body experiences and human consciousness. She began her career in the US, after studying at École Jacques Lecoq, in Paris. In Chicago, she co-founded Sprung Theatre, where she developed choreographic works, and subsequently created the company Mondes Contraire in Geneva. In 2006, she began focusing on the dynamics that the lyrical voice causes in the singer’s body and, by extension, in the performance space. Since 2013, she has directed BadNewsFromTheStars*, a platform based in Valais, Switzerland, which brings together opera singers, musicians, multimedia artists, architects, scenographers and choreographers to explore the possibilities of opera - and confront this format with different territories. This interdisciplinary research results in a lyrical work, which is shared with the public through video installations, performances, films and large productions. The French artist Horace Lundd works with immersive installations and visual creations for videos, performances and sets. His work investigates narration in contemporary art and in liminal spaces.

PH OTO S H O R AC E LU N D D

ARTISTIC DIRECTION AND CHOREOGRAPHY Julie Beauvais DIRECTION Julie Beauvais and Horace Lundd ARTISTIC DIRECTION, DIRECTOR OF PHOTOGRAPHY AND VIDEOS Horace Lundd MUSIC AND SOUND COMPOSITION Christophe Fellay GUEST MUSICAL ARTIST Bartira SET DESIGN Sibylle Kössler and Wynd van der Woude CREATED WITH AND MOVED BY Michael John Harper, Orakle Ngoy, Winsome Brown, Carolyn Cowan, Nyima, Diego Bagagal, August Schaltenbrand, Natalia Chami, Valentina Bordenave and Frans WM Franssens PRODUCTION BadNewsFromTheStars * and Horace Lundd ASSOCIATE LAPIS / EPFL - Federal Polytechnic School of Lausanne, Strasbourg Particle Accelerator SUPPORT Pro Helvetia - Swiss Foundation for Culture, Pro Helvetia COINCIDENCIA, CNC - National Center for Cinema and Animation - DICRéAM device for promoting development and production, Loterie Romande Vaud, Loterie Romande Valais, Canton of Valais - Service of Culture, DRAC - Regional Directorate for Cultural Affairs of the Great East - individual promotion of creation, Greater East Region - promotion of the creation of spectacle and visual arts, City of Geneva - Department of Finance and Accommodation, HEAR - Haute École des Arts du Rhin

SUPPORT FOR SOUTH AMERICAN TOUR PRO HELVETIA - SWISS FOUNDATION FOR CULTURE, PRO HELVETIA COINCIDENCIA, CANTON OF VALAIS - SERVICE OF CULTURE

PERFORMANCES

Lia Garcia [La Novia Sirena]

Mallika Taneja

Maria Galindo

SCAR CICATRIZ

Lia Garcia [La Novia Sirena] MEXICO | 60min Entrance of Oficina Cultural Oswald de Andrade 6 FRI

7 SAT

8 SUN

2 MON 5:30pm

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5 THU

9 MON

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12 THU

Free

Mexican Lia Garcia’s performance triggers the following questions: What history our pain tells? How is politics made from collective pain? Do the trans * lives (due to the trivialization of the word, the artist spells the term with an asterisk at the end) hurt us? Faced with the state of emergency in which we find ourselves, says the performer, we - trans * lives - rebel, we come out to the public space with our bodies (cuerpas) and expose all the violence that mutilate our memory. Following, there will be a screening of Matheus Parizi’s documentary on MITsp’s Educational Activities. 56

NIGHT WALK: WOMEN MARCHING AT MIDNIGHT CAMINHADA NOTURNA: MULHERES EM MARCHA À MEIA-NOITE

Mallika Taneja INDIA | 60min Gathering in front of Itaú Cultural 9 MON

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Free

What happens when a body (or bodies) is (are) placed in time and in spaces to which it (they) does (do) not belong? Walk the streets at night, observe the city. Indian artist Mallika Taneja invites all women to join the collective experience of walking around São Paulo at night in order to make the permissions, privileges and contradictions that surround the rights of women to occupy public spaces in the city, especially at night, something real.

THE INVISIBLE CAGE A JAULA INVISÍVEL

Maria Galindo BOLIVIA | 4h Companhia de Teatro Heliópolis 9 MON

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Presented for the first time at the event El Parlamento de los Cuerpos: los Parlamentos Imposibles, in Bergen, Norway, curated by Paul Preciado, Viktor Neumann and Andreas Angelidakis, Maria Galindo’s performance starts from the creative reactivation of social protest, the assembly and the political manifesto to inquire the horizons of the feminist struggle and the place where we are when we name our space “feminist”. The performance is part of LABEXP3, one of the Educational Activities. Following the presentation, LABEXP3 participants exhibit micro performances with the objects created during the activity. At the end, there is a talk between the public and Maria Galindo, mediated by Maria Fernanda Vomero. 57

SPECIAL JESUS QUEEN, TEN YEARS

THE GOSPEL ACCORDING TO JESUS, QUEEN OF HEAVEN

with Jo Clifford

UNITED KINGDOM, 2009 | 60min | PARENTAL RATING 16+ Centro Cultural São Paulo 9 MON

10 TUE

11 WED

5 THU

6 FRI 9pm

7 SAT 9pm

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

Ten years after her premiere in Scotland, actress and playwright Jo Clifford presents her monologue for the first time in São Paulo. In this revolutionary queer ritual, bread is shared, wine is drunk and Jesus (played by the artist) is revived as a transsexual. The play, which caused a stir among Christians on its premiere in a Glasgow’s church, was created by the British playwright as a way of dealing with her own faith and transsexualism. To do so, it is based on one of the rocks of Christian rhetoric: acceptance. Therefore, it is a thinking device for the relations between art and society, and on the power of trans playwrights in confronting structural mechanisms of exclusion. Clifford’s work inspired the namesake Brazilian show performed by Renata Carvalho, which will also be presented at MITsp.

TEXT AND PERFORMANCE HISTORY Jo Clifford is a British playwright and performer, wrote plays such as Loosing Venice and The Taming of the Shrew. In 2015, she created Queen Jesus Productions to assist The Gospel According to Jesus, Queen of Heaven monologue’s tour. That year, the group performed at Edinburgh Festival Fringe supported by Made in Scotland, then it was performed at the Outburst Festival in Belfast; at Queer Contact, in Manchester; and supported by the British Council, at FIT - Belo Horizonte International Theatre Festival. The show was performed (in part or in full) in churches, bars, theatres and festivals across the UK, including a successful Christmas special edition in 2018, supported by Creative Scotland at the Traverse Theatre in Edinburgh. In 2019, the group was selected for the first time by the Made in Scotland Festival in Brussels.

PH OTO A LY W I G H T

Jo Clifford DIRECTION Susan Worsfold PRODUCTION Annabel Cooper CO-PRODUCED BY CENTRO CULTURAL SÃO PAULO, FAROFFA AND MITSP

SPECIAL JESUS QUEEN, TEN YEARS

THE GOSPEL ACCORDING TO JESUS, QUEEN OF HEAVEN

O EVANGELHO SEGUNDO JESUS, RAINHA DO CÉU

with Renata Carvalho BRAZIL, 2016 | 60min | PARENTAL RATING 16+ Centro Cultural São Paulo 9 MON

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R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, two hours before the show

Renata Carvalho, actress and activist from Santos, performs Jesus and recreates its history as a transsexual in this Brazilian adaptation of the text by British Jo Clifford - who also presents her show The Gospel According to Jesus, Queen of Heaven at MITsp. The work is based on one of the rocks of Christian rhetoric, acceptance, to think on the relations between art and society, and on the power of trans playwrights in confronting structural mechanisms of exclusion. The Brazilian version, which was censored and had presentations officially banned (accused of disrespect to religion), rescues an underground world from the streets. The artist’s raw performance brings out her transvestite identity, defying the public to understand the suffering caused by stigma and marginalisation.

TEXT Jo Clifford HISTORY Renata Carvalho is an actress, playwright, director and researcher of the trans body in the arts (transpologist). She founded Coletivo T (the first group to be formed entirely by trans artists in São Paulo) and MONART (National Movement of Trans Artists), which, in 2017, launched the Trans Representation Manifesto. In 2012, she took part in the works ZONA!, Projeto Bispo and Nossa Vida Como Ela É, in addition to productions for television and cinema. She performed in The Gospel According to Jesus, Queen of Heaven (which was widely censored in Brazil) and Domínio Público (a performance that brought together four Brazilian artists to stage, who were targeted by attacks in 2017). Her show Transpophagic Manifesto, a co-production among Risco Festival, Corpo Rastreado and MITsp, premiered at MITsp in 2019.

PH OTO LU C I A N E PI R E S FE R R E I R A

PERFORMANCE Renata Carvalho TRANSLATION, ADAPTATION AND DIRECTION Natalia Mallo PRODUCTION Corpo Rastreado TECHNICAL DIRECTION Juliana Augusta

CO-PRODUCED BY CENTRO CULTURAL SÃO PAULO, FAROFFA AND MITSP

MITbr | BRAZIL PLATFORM

ARTIST IN FOCUS

FORTALEZA 2040 Andréia Pires

FORTALEZA/CE, 2019 | 50min | PARENTAL RATING 16+ Itaú Cultural 9 MON

10 TUE

11 WED

5 THU

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12 THU 7pm

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Free | Online reservations on www.itaucultural.org.br/secoes/ingressos-on-line (one ticket per person; preferential audiences have the right to one companion)

Based on studies on the Brazilian Constitution, the show is the result of the research Constituição Coreográfica Criminosa (Criminal Choreographic Constitution). The proposal is to think about how crime be a discursive political practice, ensured by certain control regimes, and how the body when producing choreography, intervenes in this construction. The work knows that the crime issue comes from a power structure and coexistence of a certain group of people, from a subject that is neither metaphysical nor anthropological, but historical and civilizing. The show, which takes the name of a Fortaleza’s development plan, shows a suffocated body that moves incessantly and forcefully along with a metallic sound. The “criminal choreography” is positioned before rules of behaviour and schemes of order and progress raised through censorship and fear.

CONCEPT AND PERFORMANCE HISTORY Dancer and Performer, Andréia Pires is a professor of the Dance Course at the Universidade Federal do Ceará and at the Technical Course in Dance (Porto Iracema das Artes). The show Fortaleza 2040 comes from the artist’s master’s research, entitled Performances and Policies of a Criminal Body, and finds space for artistic development at the Porto Iracema das Artes Dance Laboratory, in Fortaleza, with assessment by Alejandro Ahmed, from the Cena 11 group. Which resulted in Pires and the artists Geane Albuquerque and Honório Félix immerse themselves in an artistic-choreographic creation process and carry out a research into the acts of power of the bodies in the spaces.

PH OTO R E N ATO M A N GO L I N

Andréia Pires, Geane Albuquerque and Honório Félix ASSESSMENT, LIGHTING AND SOUND INTERVENTION Alejandro Ahmed PRODUCTION Andrei Bessa

ARTIST IN FOCUS

WORSTWARD ON PRA FRENTE O PIOR

Inquieta Cia. FORTALEZA/CE, 2016 | 50min | PARENTAL RATING 16+ Centro Cultural São Paulo 9 MON

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13 FRI 9pm

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R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, two hours before the show

WORSTWARD ON traces a vertiginous path about what it means to live in society, especially in the current sociopolitical moment in Brazil and the world. Holding hands, the six performers move each in their own way, forming an amorphous mass, always united, but confused and disconnected. As if they wanted to walk ahead and together, even if they do not get anywhere or can no longer stand the route. Like the end of party, an end of hope, but which does not paralyse, on the contrary: in despair, one always tries to react, even if one is only digging its own grave. Resulting of the dialogue between Inquieta Cia. and artists Marcelo Evelin and Thereza Rocha, the show moves among languages (theatre, dance and performance) and it derives from studies on the dramaturgy that arises from the body, its gestures and expressions, and resonates beyond it.

PERFORMERS Andréia Pires, Andrei HISTORY From Ceará, Inquieta Cia. does not stick to functions or references in its research and artistic activities. It invests in collective concepts and in works that mobilize the artistic status and society, dealing with the uniqueness and diversity of bodies. Amid it works are Metrópole, Esconderijo dos Gigantes and WORSTWARD ON. Since 2016, research over PIOR (WORST) has generated other materials, such as the performance installation Derivações do PIOR, the photographic exhibition \Ainda PIOR de Novo\ and the \arquivo do PIOR\, published in the magazine VAZANTES invited by Universidade Federal do Ceará, which resumes the research and its actions. The group also acts on education, offering courses and workshopsperformances.

PH OTO É D E N B A R B O S A

Bessa, Geane Albuquerque, Gyl Giffony, Lucas Galvino, Wellington Fonseca ASSESSMENT Marcelo Evelin DRAMATURGIC COLLABORATION Thereza Rocha SOUND Uirá dos Reis SET Inquieta Cia. And Caroline Holanda COSTUMES Isac Sobrinho and Mallkon Araújo LIGHTING Inquieta Cia. and Walter Façanha GRAPHIC PROJECT Andrei Bessa PHOTOS Chun, Igor Cavalcante Moura, Éden Barbosa, Rômulo Juracy and Thiago Sabino PRODUCTION Inquieta Cia.

THE SOLAR ANUS O ÂNUS SOLAR

Maikon K CURITIBA/PR, 2017 | 1h30min | PARENTAL RATING 18+ Centro Cultural São Paulo 9 MON

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R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, two hours before the show

A short surrealist text by the French Georges Bataille, The Solar Anus inspires the work of Maikon K who creates a kind of scenic ritual based on the subjects covered by the book such as the criticism of the civilization concept and social rules, besides questioning the way we deal with pleasure and death. The artist moves around performance, theatrical and musical blocks, bringing up the erotic drive enclosed in suppression and taboos. Over the performance, speeches and objects are used and then ditched: it is as if the body, failing to be transcended or silenced, would be divided and decomposed into different voices and images. The performer also evokes the surrealist and ecstatic writing of Bataille’s text, joining gestures and images that, placed side by side, lose or change their original meaning.

HISTORY Performance artist, Maikon K started his studies in the performing arts. Graduated in social sciences focusing on theatre anthropology, since 2002 he has researched ways to change consciousness through rites and movement. Moved by shamanic practices, his work pinpoints on the body and its ability to change perceptions. In his works, the performer unfolds in several realities through particular techniques and expressions, such as song, non-verbal sound, dance and ritualized activities. Some of his shows are Corpo Ancestral, DNA de DAN and Neblina Canibal.

PH OTO L AU RO B O RG E S

CONCEPT AND PERFORMANCE Maikon K ASSESSMENT Patrícia Saravy LIGHTING Fábia Regina SOUND Beto Kloster COSTUMES Faetusa Tezelli SET TECHNICIAN André Baliú SOUND ADVISING Iria Braga VIDEO Tathy Yazigi (recording) and Stephany Mattanó (edition) PRODUCTION Corpo Rastreado PHOTOS Lauro Borges THIS SHOW WAS DEVISED WITH THE SUPPORT OF PRÊMIO FUNARTE MYRIAM MUNIZ DE TEATRO 2015

TERMINAL SONGBOOK CANCIONEIRO TERMINAL

Grupo MEXA SÃO PAULO/SP, 2019 | 1h20min | PARENTAL RATING 12+ 5 THU

6 FRI

7 SAT

8 SUN

12 THU

13 FRI 7pm

14 SAT 7pm

15 SUN

Biblioteca Mário de Andrade 9 MON

10 TUE

11 WED

Free | Box office: opens on the day of the performance, one hour before the show

MEXA is an artistic collective that works with marginal people. In Terminal Songbook, the group starts examining photographs and videos produced about themselves. The performers relate to the recorded images and ask themselves which of them would like to tell the story of their present. The group has been acting since 2015 and, over that time, some members disappeared, others reappeared, there were those who tried to kill themselves, those who transitioned, who had a daughter, who were arrested or hospitalized, changed country, profession, name. Together, these small stories tell the group’s always procedural narrative, which works from their own experiences to be transformed onstage. With each performance, MEXA re-enacts and edits a new film in real time, through translation and dubbing exercises. In doing so, artists reflect on what it means to be an image, what remains when everything else disappears and how, being a collective body, to walk together.

HISTORY MEXA was created in 2015 after episodes of violence in some reception centres. The group moves between art and politics, assuming places of speech and failure of concepts that seek to frame bodies and aesthetics. It is made up of people in vulnerability situation, homelessness and members of the LGBTT community who, based on drifts, performances, writings and protests, create borderline works. The collective has already performed in venues such as Pinacoteca and Jaqueline Martins gallery, participated in exhibitions such as VERBO, held by Galeria Vermelho, and the 11th Bienal Sesc de Dança. In 2019, it was awarded the Prêmio Denilto Gomes de Dança in the views on black and gender aesthetics category.

GENERAL DIRECTION Grupo MEXA GROUP CONCEPT Anita Silvia and Dudu Quintanilha DRAMATURGY João Turchi AUDIOVISUAL DIRECTION Dudu Quintanilha BAND Alessandro Lins dos Anjos, Dourado, Barbara Britto and Giulianna Nonato PRODUCTION Lu Mugayar PERFORMERS Daniela Pinheiro, Ivana Siqueira, Tatiane del Campobello, Patrícia Borges, Yasmin Bispo, Luiza Brunah Wunsch, Fabíola Dummont, Muniky Flor, Roberto Lima Miranda, Kristen Oliveira, Anita Silvia, Alessandro Lins dos Anjos, Barbara Britto, Dourado, Dudu Quintanilha, Giulianna Nonato, João Turchi, Laysa Elias, Lu Mugayar GRAPHIC PROJECT Celso Longo LIGHTING Helo Duran IMAGE CAPTURE Laysa Elias MAKE UP Lavínia Favero and team GROUP IN RESIDENCE AT CASA DO POVO

PH OTO B E TO A S S E M

BETWEEN THE LINES ENTRELINHAS

Coletivo Ponto Art SALVADOR/BA, 2012 | 35min | PARENTAL RATING 18+ Teatro Cacilda Becker 9 MON

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11 WED

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R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, two hours before the show

In a dialogue between the past and the present, the show discusses violence against women and shows how the voice of black women has historically been silenced within an oppressive, sexist and slave-like society - and, thus, incites violence. Choreographer and performer Jaqueline Elesbão stitches an essentially visual narrative, almost wordless, which presents a series of images and historical references (symbols that determine female existence). On stage, the artist brings objects such as a Flanders mask - used during the Brazilian slavery period, to prevent slaves from eating food and drinks, and evoked in the image of Anastácia, a servant subjected to torture sessions while the device covered her mouth. Swaying between the victim and executioner characters, Elesbão also shows religious elements and feminine clothes, such as the bra and high heels, icons of freedom and ties of the woman’s body.

HISTORY This is the first work of Coletivo Ponto Art, which has focused on affirmative cultural actions since 2011. The group is formed by Nai Meneses, Anderson Gavião and Jaqueline Elesbão, creator of the project, dancer, black woman, drag king, producer and activist of feminine issues, Afrodiasporic and LGBTQI + causes. Since its debut in 2012, Between the Lines toured festivals such as Cena Brasil Internacional (RJ) and FIT - São José do Rio Preto International Theatre Festival (SP). The show’s research unfolded in other works of the group, such as the web series Vozes sem Medo and the workshop Resiliência do Corpo-História, a study of how historical social violence affects the female black body.

PH OTO I V E S PA D I L H A

CHOREOGRAPHER AND INTERPRETER Jaqueline Elesbão PRODUCTION Nai Meneses SOUND DESIGN Anderson Gavião LIGHTING Robson Poeta COSTUMES Luiz Santana

MIDNIGHT MEIA NOITE

Orun Santana RECIFE/PE, 2018 | 60min | PARENTAL RATING FREE Teatro Alfredo Mesquita 9 MON

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11 WED 9pm

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12 THU 4pm

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R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, onde hour before the show

In the show, capoeira is thought as movement’s creative and motivating element and on how to begin reflecting on the memory of the dancing black body. Thus, the dancer Orun Santana is inspired by the experience with his father, master Meia-Noite, co-founder of the Daruê Malungo Education and Culture Centre, on Recife’s outskirts, space where the performer grew up and where he develops works. Onstage, Santana draws a parallel between two universes. One, of his family relationship, between father and son, master and disciple. The other, social and cultural, of the movements and the political-poetic imagery of the black body in the scene. Therefore, the performer stitches images and memories of black dance, popular dances from the Northeast and the playful body, as well as aspects of his own ancestry.

PERFORMER-CREATOR AND HISTORY Orun Santana is a dancer, capoeirista, teacher, researcher in dance and Recife’s afro culture. Educated by the Centro de Educação e Cultura Daruê Malungo, by the masters Meia-Noite and Vilma Carijós, the artist is a popular culture player and takes from his perceptions with dances and toys his place of body research and artistic studies for the scene. Throughout his career, Santana worked at Grupo Grial, Compassos Cia. De Danças and Cláudio Lacerda Dança Amorfa. Currently, he is the artistic director of Cia. De Dança Daruê Malungo. His research, To Play the Dance - Body, Image and Black Ancestralism in the Scene, developed into the show Midnight, with which he was awarded the best dancer at Janeiro de Grandes Espetáculos (PE).

PH OTO A M A N DA PI E T R A

DIRECTOR Orun Santana ARTISTIC CONSULTING Gabriela Santana DIRECTION ASSISTANT Domingos Júnior SOUNDTRACK Vitor Maia LIGHTING Natalie Revorêdo SET AND COSTUMES Victor Lima PRODUCTION Danilo Carias (Criativo Soluções)

THE LAST STRAW {BLACK} GOTA D’ÁGUA {PRETA}

Jé Oliveira SÃO PAULO/SP, 2019 | 3h50min | PARENTAL RATING 14+ Teatro Sesi SP 9 MON

10 TUE

11 WED 6pm

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Free | Box office: new online reservation opens on March 9th, at 8am. Reservations are guaranteed until 15 minutes before the show. Each person can reserve up to 2 tickets

The Last Straw adaptation, a musical by Chico Buarque and Paulo Pontes, highlights the racial issues inserted in the 1975 work, which transfers the Medea tragedy to Rio de Janeiro’s suburb. If the original version debates the sociopolitical implications of the Brazilian military regime, the rereading by director Jé Oliveira blackens and updates the work: it brings a mostly black cast, showing the social and racial context of the characters (poor, residents of a housing estate), in addition to highlighting some aspects of African religions and black musicality - introducing African percussion instruments and elements of hip-hop. A Brazilian version of Medea, Joana is a middle-aged woman who finds herself left by her husband, the young samba player Jason, and about to be evicted from the apartment where she lives with her two children. Using a marital betrayal metaphor, the show highlights racial, social and class discussion based on the country’s current political moment.

HISTORY Jé Oliveira is an actor, director and playwright, graduated from the Escola Livre de Teatro de Santo André, where he also taught drama classes. He is one of the founders of Coletivo Negro, a group focused on racial issues since 2008, He wrote the plays Farinha com Açúcar ou Sobre a Sustança de Meninos e Homens, {ENTRE}, Azar do Valdemar, Nóis, Taiô and Movimento Número 1: O Silêncio de Depois… Besides Coletivo Negro, he contributed artistically with many Brazilian groups. With The Last Straw {BLACK}, he won the APCA Award for Best Direction in 2019.

PH OTO S E VA N D RO M AC E D O

DRAMATURGY Chico Buarque and Paulo Pontes GENERAL DIRECTION, CONCEPT AND ORIGINAL IDEA Jé Oliveira CAST Aysha Nascimento, Dani Nega, Ícaro Rodrigues, Jé Oliveira, Juçara Marçal, Marina Esteves, Mateus Sousa, Rodrigo Mercadante and Salloma Salomão BAND DJ Tano (pickups and bases), Fernando Alabê (percussion), Gabriel Longhitano (electric guitar, guitar and cavaco) and Suka Figueiredo (sax) DIRECTION ASSISTANCE AND COSTUME DESIGN Éder Lopes MUSICAL DIRECTION Jé Oliveira and William Guedes VOCAL COACH William Guedes MUSICAL CONCEPT AND QUOTE SELECTION Jé Oliveira SET Julio Dojcsar 77

SET TECHNICIAN Jé Oliveira GRAPHIC ARTIST Murilo Thaveira LIGHT DESIGN Camilo Bonfanti LIGHTING TECHNICIAN Camilo Bonfanti and Lucas Gonçalves SOUND TECHNICIAN Alex Oliveira PRESS Elcio Silva COORDINATION OF THEORETICAL STUDIES Juçara Marçal, Jé Oliveira, Salloma Salomão and Walter Garcia EXECUTIVE PRODUCTION Janaína Grasso GENERAL PRODUCTION Jé Oliveira PHOTOS Evandro Macedo and Tide Gugliano VIDEO AND EDITION Marília Lino PRODUCTION Itaú Cultural PRODUCTION Gira pro Sol Produções 78

WHERE THE PIGS GO POR ONDE ANDAM OS PORCOS

Kildery Iara RECIFE/PE, 2019 | 1h20min | PARENTAL RATING 18+ Teatro Sérgio Cardoso 9 MON

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12 THU 9pm

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R$ 10 and R$ 5 (half-price) | Box office: Tuesdays to Saturdays, from 2pm to 7pm

The capitalist pig picture gets revamped in the performance. Instead of considering the oppressor’s central figure, the work shows the system as a self-regulating organism, which imposes its logic on differing movements. Individuals are seen as political beings, people who wear the pig mask and help to keep the world as it is. Based on works like The Burnout Society, by Byung Chul Han, the show questions the logic of the super productive performance of capitalist society - pelnty of self-exploration and monitoring systems disguising the human cost to maintain the order. Onstage, the artists propose expressions and movements questioning what sort of body lives this hypnotic state of performance and try not to cease amidst excessive individualization. The work is made up of improvised scenes, and the interpreters modify their gestures according to stimuli from space. Everything happens as in an art gallery, where the audience freely moves around.

DIRECTION Kildery Iara HISTORY Kildery Iara is a member of CARNE (Coletivo de Arte Negra), as well as part of the curatorial body of Palco Preto, an independent art festival held in Recife and its metropolitan area. Graduated in dance at UFPE, she devotes to the artistic expressions integration, using the body as a trigger of issues. Over her career, she has been part of the casts of Grupo Experimental (PE) and Cia. Municipal de Dança de Caxias do Sul (RS), she was a teacher at the dance prep school in Caxias do Sul and has been working for eight years as a dance art-educator in Pernambuco.

PH OTO R H A I Z A O L I V E I R A

ART DIRECTION Iagor Peres ARTISTIC DIRECTION Iagor Peres and Kildery Iara CONCEPT-PERFORMERS Kildery Iara, Marcela Aragão, Meujael Gonzaga and Marcela Felipe COSTUMES AND PROSTHESES Meujael Gonzaga LIGHTING Iagor Peres PROPS Iagor Peres and Meujael Gonzaga SOUND DESIGN Hugo Coutinho PRODUCTION Hudson Wlamir (Mundo Projetos Culturais) DRONE OPERATOR Ricardo Moura

RECOLON

Coletivo Mona MANAUS/AM, 2016 | 50min | PARENTAL RATING 12+ Vila Itororó 9 MON

10 TUE

11 WED

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12 THU

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Free | Box office: opens on the day of the performance, one hour before the show The show is presented in an open area; to get there, one must walk through an uneven ground

The environmental and human impacts caused by the construction of hydroelectric plants in the Madeira river basin, in Rondônia, triggered the artist from Manaus, Leonardo Scantbelruy to create the solo, the first work of Coletivo Mona. The performer manipulates symbolic and regional elements to examine the risk of the Amazon life, marked by colonization cycles. Inspired by the work of the painter and sculptor Olivier de Sagazan and the choreographer Elisa Schmidt, the performer uses a cassava paste to gradually dismantle himself and investigate through body metaphors the emotional and psychological state of a body crossed by an environmental shock that violates countless rights.

CONCEPT, DIRECTION AND PERFORMANCE HISTORY Coletivo Mona is a network of independent artists from Manaus who currently live in Manaus, Portugal and France. Their common interest is to decentralize art and make it more democratic. Recolon, the group’s inaugural work, was awarded the Prêmio Funarte de Dança Klauss Vianna (2014) and toured in Manaus, Rondônia, Florianópolis, Spain and Bolivia. the shows Transformação / Invisibilidade, A Ver Estrelas, Passarinho and Akangatu are also part of the repertoire. Mona took part in the Spanish festival Emergentes, the International Biennial of Circus, in France, and held the first Fest Rap, in Manaus.

PH OTO E N R I Q U E PE R E Z U C E DA

Leonardo Scantbelruy ASSESSMENT Gilca Lobo and Elisa Schmidt DIRECTION ASSISTANCE Francisco Rider LIGHTING AND SOUND DESIGN Daniel Braz COSTUMES Preta Scantbelruy SUPPORTED BY Coletivo Mona, Movimento Levante MAO and Coletivo Difusão

RESEARCHER IN FOCUS

STABAT MATER Janaina Leite

SÃO PAULO/SP, 2019 | 1h50min | PARENTAL RATING 18+ Teatro Cacilda Becker 9 MON

10 TUE

11 WED 8pm

5 THU

6 FRI

7 SAT

8 SUN

12 THU 8pm

13 FRI

14 SAT

15 SUN

R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, two hours before the show

The show, whose work in progress was presented in the previous edition of MITsp, is part of Janaina Leite’s broader research about the real in theatre - now focusing on the obscene. From the theoretical text Stabat Mater (in Latin, there was the mother), by philosopher and psychoanalyst Julia Kristeva, the artist and researcher proposes the format of a performancelecture about women, going back to Virgin Mary’s story, trying at the same time to account for her mother’s deletion in her previous play, Conversas com Meu Pai. Escorted by her own mother and the figure of Priapus, a character performed by a porn actor, she radically articulates historically conflicting themes such as motherhood and sexuality. Having terror and pornography as aesthetic bases, Leite examines the origins of a historical deal between the feminine and the masculine, which the work tries to disarm without first taking risks and facing the systems of orgasm and pain securing these positions.

CONCEPTION, DIRECTION AND DRAMATURGY HISTORY Janaina Leite has a consolidated research on documentary and autobiography in Brazilian theatre. She created the shows Festa da Separação: Um Documentário Cênico, Conversas com Meu Pai and Stabat Mater, for which she was nominated, in 2019, for the Shell Theatre Award in the dramaturgy category. She published the book Autoescrituras Performativas: do Diário à Cena, reinforcing her research in documentary theatre. Leite idealized and coordinated the study groups Feminino Abjeto 1, Memórias, Arquivos e (Auto) Biografias and Feminino Abjeto 2. She is also co-founder, actress and director of Grupo XIX de Teatro. PH OTO A N D R É C H E R R I

Janaina Leite PERFORMANCE Janaina Leite, Amália Fontes Leite and Priapus SPECIAL PARTICIPATION Lucas Asseituno and Loupan DRAMATURG AND DIRECTION ASSISTANT Lara Duarte and Ramilla Souza DRAMATURGIC COLLABORATION Lillah Hallah ART DIRECTION, SET AND COSTUMES Melina Schleder LIGHTING Paula Hemsi VIDEO INSTALLATION AND EDITING Laíza Dantas AUDIOVISUAL CONCEPTION AND SCRIPT Janaina Leite and Lillah Hallah VIDEO PARTICIPATION Alex Ferraz, Hisak, Jota, Kaka Boy, Mike and Samuray Farias PRODUCTION AND CIRCULATION DIRECTOR Carla Estefan PROJECT MANAGEMENT Metropolitana Gestão Cultural 85

tReta*

Original Bomber Crew

* Slang: trouble, fight, contend, quarrel

TERESINA/PI, 2018 | 60min | PARENTAL RATING 16+ Tendal da Lapa 9 MON

10 TUE

11 WED

5 THU

6 FRI

7 SAT

8 SUN

12 THU

13 FRI 8pm

14 SAT 8pm

15 SUN

Free | Box office: opens on the day of the performance, one hour before the show

The many “bullshit” faced daily by peripheral youth, refugees and minorities in general were the basis of the Original Bomber Crew’s work. Politics, patriarchy, colonialism “bullshit” and the breaking battle issues that generate clashes for survival. The artists who created the show perform close to the audience guided by a metallic, dense and urban sound. Brazil’s violence and the reality of bodies held disposable around the world are expressed in movements with breaking and hip-hop elements. The play is a conflict, an explosion, a wilful act to involve the other.

HISTORY Original Bomber Crew is an organization of practices, research and production on hip-hop culture. Operating since 2005, it is a Piauí reference in street dance training. Taking part in festivals, battles and national and international meetings, it currently occupies Casa do Hip Hop, in Teresina, along with other local artists. The group develops shows, performances, battles, urban interventions, festivals and dance workshops in Piauí and neighbouring states.

CONCEPT Allexandre Santos and Cesar Costa DIRECTION Allexandre Santos DEVISED AND PERFORMED BY Allexandre Santos, Cesar Costa, Javé Montuchô, Malcom Jefferson, Maurício Pokemon and Phillip Marinho MUSIC CONCEPT César Costa and Javé Montuchô TECHNICAL COORDINATION AND LIGHTING DESIGN Javé Montuchô PHOTOGRAPHY Maurício Pokemon MANAGING ASSISTANCE Humilde Alves PRODUCTION DIRECTION Regina Veloso / CAMPO Arte Contemporânea ACKNOWLEDGMENTS Artur, Cleydinha, Neném, Fedó, Jell, Pangu, Pangulim, WG, Gui Fontineles and Marcelo Evelin

PH OTO M AU R Í C I O P O K E M O N

violent. VIOLENTO.

Preto Amparo, Alexandre de Sena, Grazi Medrado, Pablo Bernardo BELO HORIZONTE/MG, 2017 | 60min | PARENTAL RATING 16+ Centro Cultural da Diversidade 9 MON

10 TUE

11 WED

5 THU

6 FRI

7 SAT

8 SUN

12 THU 6pm

13 FRI 9pm

14 SAT

15 SUN

R$ 10 and R$ 5 (half-price) | Box office: opens on the day of the performance, one hour before the show

Preto Amparo’s solo proposes the decolonization of the look towards the black body - that is, a change on this viewing that historically ratifies violence. The show appropriates this violence as an aesthetic and creative device to erase, pierce and reconfigure them. Using elements such as a toy police vehicle, a bag of coffee and a packet of popcorn, the scenes are shaped by the journey of a young black man in society, affected by police approaches, the ongoing genocide and the hypersexualization of his body. In addition to it, urban elements and contemporary rites of passages. Offering a dialogue between the ancestry and the life of the young urban black, the performer bears an experience that seeks new chances for thinking about black aesthetics in the scenic, artistic and cultural domains.

HISTORY The artists Preto Amparo, Alexandre de Sena, Grazi Medrado and Pablo Bernardo do not define themselves as a group or a company, but as an ancestral reconnecting aiming to nationally strengthen black networks, such as Segunda PRETA (MG), Segunda Crespa (SP) and Segunda Black (RJ). The research which violent. derived from started when Preto Amparo in a short scene presented it at the Universidade Federal de Minas Gerais (UFMG), during an artistic occupation. After some gigs, Alexandre de Sena begun directing, Grazi Medrado got into the production and Pablo Bernardo arrived to take over the records. The play was performed at theatre and dance festivals in Minas Gerais, Bahia, São Paulo and Piauí. In 2019, the solo was awarded the Prêmio Leda Maria Martins de Artes Cênicas Negras de Belo Horizonte as the best long-lasting play.

PH OTO PA B LO B E R N A R D O

PERFORMANCE Preto Amparo DIRECTION Alexandre De Sena DRAMATURGY Alexandre de Sena and Preto Amparo PRODUCTION Grazi Medrado PHOTO AND VIDEO REGISTER Pablo Bernardo LIGHTING Preto Amparo PHYSICAL PRACTICE Wallison Culu / Cia Fusion De Danças Urbanas SOUNDTRACK ADVISOR Barulhista

ZOO

Macaquinhos SÃO PAULO/SP, 2018 | 60min | PARENTAL RATING 18+ Centro de Referência da Dança 9 MON

10 TUE

11 WED

5 THU

6 FRI

7 SAT

8 SUN

12 THU

13 FRI

14 SAT 7pm

15 SUN 5pm

Free | Box office: opens on the day of the performance, one hour before the show

A badly ended party, traces of intimacy through space and fragments of a musical gangbang fill the room. Macaquinhos’ latest work is a performative installation that enlighten human zoos held in colonizing countries in Europe during the 20th century. The collective continues its research rubbing body, politics and the limits of contemporary aesthetic expressions against each other and provokes asking “What is North in each of us?”. Invited to devise the work by Künstlerhaus Mousonturm and the I*mpossible Bodies Festival in Germany, the group brings a colonial hangover experience shared between performers and audience. It is a sensory environment filled with smells and sounds, a place for expectations that questions what is domestic and what is spectacular.

CONCEPT, DIRECTION AND PERFORMANCE HISTORY Since 2011 Macaquinhos group has operated as an even and collaborative creation space. It is formed by a rotation of transdisciplinary artists who have São Paulo as a convergence spot. The group’s research base is the tension between body, politics, dance and performance. In 2014, the show Macaquinhos went viral on social networks and caused a series of debates about the role of art after the performers examined the anus as the body’s south metaphor. Their new work, ZOO, continues the research, now aimed at relations with the North. The collective has participated in festivals in Brazil, Germany, Austria and Belgium.

PH OTO FR A N ÇO I S PI S A PI A

Andrez Lean Ghizze, Caio, Danib.ar.ra, Feliz, Kupalua, Luiz Gustavo, Marine Sigautand Rosangela Sulidade LIGHTING Helô Duran and Lucas Brandão ARTISTIC COLLABORATION Carol Mendonça, Elisa Liepsch and Kontouriotis EXECUTIVE PRODUCTION Corpo Rastreado CO-PRODUCTION Künstlerhaus Mousonturm Frankfurt SUPPORTED BY Programa de Residência Artística Obras em Construção, Casa das Caldeiras, Residência Artística Instituto Terra Luminous, Centro de Referência da Dança da Cidade de São Paulo and Frankfurt LAB ACKNOWLEDGEMENTS Alessandra Domingues , Guilherme Godoy, François Pisapia, José Fernando Peixoto, Marcelo Evelin, Teresa Moura Neves, Yuri Tripodi and all of the participants of Experimento Milgrau

CRITICAL REGARDS The reflective axis of MITsp invites society to think on performing arts and contemporaneity through the publication of articles, interviews and criticisms and the debates with thinkers and researchers from different areas. CURATORS Daniele Avila Small

and Luciana Eastwood Romagnolli

AESTHETIC-POLITICAL REFLECTIONS PUBLIC POLICIES FOR CULTURE: IDEOLOGICAL CONFRONTATIONS March 8th, Sunday, from 4pm to 6pm Itaú Cultural - Sala Vermelha

Panel with representatives of different fields and political positions about the public power’s responsibility in the constitutional guarantee of access to culture, in face of ideological differences and moralizing concepts that underlie mechanisms of censorship and exclusion. WITH Alexandre Gonçalves (SC), Eduardo Gianetti (SP), Rosane Borges (SP) and Vladimir Safatle (SP) MEDIATION Patrick Pessoa (RJ)

CONTRADICTIONS IN THE DEBATE OF CULTURE AS A COMMON GOOD March 14th, Saturday, from 2pm to 4pm Itaú Cultural - Sala Vermelha

From an intersectional perspective, Brazilian artists from different regions debate cultural practices as a common good in the capitalist context of class social structuring, which naturalizes differences such as those of class, ethnicity and gender, defining complex sharing of privileges and exclusions in the art field. WITH Carla Akotirene (BA), Grazi Medrado (MG), Jaqueline Elesbão (BA), Jé Oliveira (SP) and Gyl Giffony (CE) MEDIATION Daniele Avila Small (RJ)

DEMOCRACY IN FOCUS: CENSORSHIP MECHANISMS March 14th, Saturday, from 5pm to 7pm Itaú Cultural - Sala Vermelha

Jurists examine the complex censorship mechanisms, based on ideological beliefs and values of a capitalist society with a Christian, patriarchal and colonial structure. This in a context of using culture as a way to institute a regime of exception, contrary to the constitutional order of a democratic society guided by the guarantee of individual freedom, among which, freedom of speech. WITH Eduardo Dias de Souza Ferreira (SP), Eduardo Faria Santos (SP), Celso Curi (SP), Rodrigo Sérvulo (SP) and Kenarik Boujikian (SP)

CURATORSHIP AT THE CROSSROADS

March 15th, Sunday, from 2pm to 4pm Centro Cultural São Paulo - Sala Adoniran Barbosa Curators from the different fronts of MITsp talk about the challenges and dilemmas of curatorship exercise, considering intersectional crossings between ethnicity, gender and class categories, in the face of power relations and forms of institutionalized silencing and exclusion. WITH Andreia Duarte (SP), Dodi Leal (SP / BA), Grace Passô (MG), Maria Fernanda Vomero (SP) and José Fernando Peixoto de Azevedo (SP) MEDIATION Daniele Avila Small (RJ)

MASTERCLASS AGAINST THE POLITICAL THEATRE

March 9th, Monday, from 4pm to 6pm Itaú Cultural - Sala Vermelha

Author of the books Contre le Théâtre Politique (Against the Political Theatre, 2019) and Politiques du Spectateur. Les Enjeux du Théâtre Politique Aujourd’hui (Spectator Policies. The Challenges of Political Theatre Today, 2013) and professor of theatre history and aesthetics at ENS Lyon, French researcher Olivier Neveux discusses the theme: Against the Political Theatre. WITH Olivier Neveux (France) MEDIATION Maria Lucia Pupo (Brazil)

RESEARCHER IN FOCUS Critical Regards’ Researcher in Focus of the 7th MITsp is Janaina Leite, actress, playwright, director and theatre researcher from São Paulo. The XIX Theatre Group’s member since its foundation and a PhD student at USP, the artist develops a practicaltheoretical research on The Abject Feminine in the Contemporary (Ob)scene. She wrote the book Autoescrituras Performativas - Do Diário à Cena (Editora Perspectiva) and she is on MITbr - Brazil Platform with Stabat Mater, her most recent creation.

DISASSEMBLY OF STABAT MATER March 13th, Friday, from 1:30pm to 3:30pm Teatro Cacilda Becker

Common practice in Latin American theatre, disassembly is a kind of a staged deconstruction of a show’s creative process. An inner, critical analysis, exposing 94

issues related to creation, which can range from the project’s conceptual bases to the materializing devices of ideas in an enactment. The artist and researcher Janaina Leite proposes to disassemble the play Stabat Mater followed by a talk with the audience.

THE WOMEN’S BODY, ITS REPRESENTATIONS AND THE COURAGE OF TRUTH March 13th, Friday, from 4pm to 6pm Teatro Cacilda Becker

Panel based on Janaina Leite’s work, intertwining perspectives of psychoanalysis, philosophy, religion and art. WITH Ivone Gebara (SP), Vera Iaconelli (SP), Priscila Piazentini Vieira (PR) and Laís Machado (BA) MEDIATION Maria Luísa Barsanelli (SP)

ARTIST IN FOCUS PUBLIC INTERVIEW WITH TIAGO RODRIGUES March 9th, Monday, from 7pm to 9pm Itaú Cultural - Sala Vermelha

The actor, playwright and director Tiago Rodrigues, artist in focus at MITsp 2020, talks to journalist and literature professor Welington Andrade (SP) and theatre artist Felipe Rocha, from Foguetes Maravilha (RJ). The Portuguese artist, artistic director of Lisbon’s Teatro D. Maria II, is on the program with the plays By Heart and Blow. INTERVIEWERS Welington Andrade (SP) and Felipe Rocha (RJ)

PUBLIC INTERVIEW WITH ANDRÉIA PIRES

March 12th, Thursday, from 8pm to 10pm (after the show Fortaleza 2040) Itaú Cultural - Sala Multiuso Soraya Portela, dancer from Teresina, part of Núcleo do Dirceu, and Clarice Lima, choreographer and performer from Ceará, interview the artist in focus at MITbr Platform Brazil. Andréia Pires, dancer and choreographer at Inquieta Cia. in Fortaleza, presents two shows at MITsp: WORSTWARD ON and Fortaleza 2040. INTERVIEWERS Soraya Portela (PI) and Clarice Lima (CE / SP)

THOUGHT-IN-PROCESS Panel with the creators right after each show’s presentation and in dialog with the audience.

IMMORAL TALES - PART 1: MOTHER HOUSE March 6th, Friday, 25 min. after the show Sesc Pinheiros - Teatro Paulo Autran

BURGUERZ

March 14th, Saturday, after the show Centro Cultural São Paulo - Sala Jardel Filho Participation of Ave Terrena Alves and Marina Mathey, guests of Meeting of Theatra, with mediation by Dodi Leal.

MIDNIGHT

March 11th, Wednesday, after the show Teatro Alfredo Mesquita

BETWEEN THE LINES

March 15th, Sunday, after the show Teatro Cacilda Becker

CRITICAL PRACTICE Working group gathered to write articles about the plays for Revista Cartografias and critical texts released the day after the premieres of international shows. The resident critics also hold two open public debates throughout the program and, after MITsp ends, they will write reflective texts in which they propose crossings between shows, seminars, performances, debates and educational activities

DAILY REVIEW

Daily production of MITsp international spectacles’ reviews for print and electronic media (mitsp.org). COORDINATION Michele Rolim (RS) COLLABORATION Dodi Leal (SP / BA) WITH Clóvis Domingos (MG), Daniel Toledo (MG), Guilherme Diniz (MG), Laís Machado (BA), Nathalia Catharina (SP), Renan Ji (RJ), Rodrigo Nascimento (SP) and Wellington Júnior (PE / RJ)

CONTEMPORARY SCENE: CRITICAL PERSPECTIVES The critics invited to Critical Practice Residency will debate the set of shows presented at MITsp, their effects and the issues on contemporary theatrical scene raised by these works.

DEBATE 1

March 8th, Sunday, from 1:30pm to 3:30pm Itaú Cultural - Sala Vermelha

DEBATE 2

March 15th, Sunday, from 4:30pm to 6:30pm Centro Cultural São Paulo - Sala Adoniran Barbosa

CROSS-CULTURAL DIALOGUES Critical comments made right after a performance, and in dialogue with the audience. Invited artists and thinkers from other fields of knowledge take a cross-cultural view, cross borders and expand the readings of the works in focus MEDIATION Maria Lucia Pupo (SP) and Luciane Ramos-Silva (SP)

BY HEART

March 12th, Thursday, after the show Teatro da Faap WITH Zahy Guajajara (MA)

WHAT TO DO WITH WHAT REMAINS March 8th, Sunday, after the show Teatro Cacilda Becker WITH George Matsas (SP)

STABAT MATER

March 8th, Sunday, after the show Teatro Cacilda Becker WITH Eliane Robert Moraes (SP)

WORSTWARD ON

March 14th, Saturday, after the show Centro Cultural São Paulo - Espaço Cênico Ademar Guerra WITH Maria Homem (SP)

BOOK LAUNCHES

March 8th, Sunday, from 10:30am to 12:30pm Itaú Cultural - Sala Vermelha

Talk with the authors and / or organizers of the following publications: FORÇAS DE UM CORPO VAZADO Editora 7Letras and PUC-Rio | Ana Kfouri AS ARTES DO COVER - PERFORMANCE PARA ALÉM DA CÓPIA E DO ORIGINAL Editora Circuito and POP LAB - Studies in Pop Philosophy | Henrique Saidel ANATOMIA DE UMA DECISÃO João Fiadeiro OVELHA DOLLY E ZOOLÓGICO A CÉU ABERTO Editora Javali | Fernando Carvalho O TEATRO NEGRO DE CIDINHA DA SILVA Editora Quanzá | Cidinha da Silva MATO CHEIO Editora Cobogó | Jhonny Salaberg COLEÇÃO DRAMATURGIA FRANCESA Editora Cobogó | Various authors

TEATRA DA OPRIMIDA: ÚLTIMAS FRONTEIRAS CÊNICAS DA PRÉTRANSIÇÃO DE GÊNERO Editora da UFSB | Dodi Leal PLANEJAMENTO ESTRATÉGICO DE PROJETOS E PROGRAMAS CULTURAIS Editora SENAC | Maria Helena Cunha AGENTES INVISÍVEIS E MODOS DE PRODUÇÃO NOS PRIMEIROS ANOS DO WORKCENTER OF JERZY GROTOWSKI Editora Javali | Daniele Sampaio

REVISTA CARTOGRAFIAS CURATORS Daniele Avila Small, Luciana Eastwood Romagnolli and Sílvia Fernandes INTERVIEWS with Artists in Focus, Researcher in Focus and Educator in Focus of the 7th MITsp, made by Clóvis Domingos, Daniele Avila Small, Francis Wilker, Maria Fernanda Vomero, Maria João Brilhante, Luciana Eastwood Romagnolli and Sílvia Fernandes. ARTICLES written by researchers from postgraduate programs at Brazilian universities or other educational and research institutions, as well as by critics and artists participating in the Critical Practice Residency on the shows, residencies and other projects presented at MITsp. EDUCATIONAL ACTIVITIES Texts by Dodi Leal, Maria Fernanda Vomero, Ana Harcha and Paola Lopes Zamariola. DOSSIER INTERNATIONALIZATION OF BRAZILIAN PERFORMING ARTS Texts by Christine Greiner, Lúcia Maciel, Maria Lucia Pupo and interview with Christiane Jatahy.

CULTURAL JOURNALISM LAB In partnership with MITsp, PUC-SP journalism students will provide journalistic coverage of the Critical Regards under the guidance of Professor Fabio Cypriano. The texts will be available on the PUC-SP website.

EDUCATIONAL ACTIVITIES After a convulsive year, permeated by social rejection against the most aggressive and exclusive aspects of neoliberalism, the axis seeks to foster the emergence of new ways of producing and sharing knowledge, new ways of inhabiting the present and other possibilities of living together CURATOR Maria Fernanda Vomero

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NEW PEDAGOGIES: BREACHES AND EXPERIMENTS ARTISTIC RESIDENCY OLHO NO OLHO: WHO CAN BE VISIBLE IN SÃO PAULO TODAY?

February 13th to March 8th, Tuesday to Saturday, from 2pm to 7pm. [Carnival break: February 22nd to 25th]. March 7th and 8th presentation of the performative installation from 2pm at Espaço expositivo Piso Caio Graco Centro Cultural São Paulo Faced with the social complexity of a 20 million people megalopolis such as São Paulo, the experienced and renowned artists of British collective Quarantine will be in artistic residency at MITsp 2020, sharing their practices with local artists. The residency will result in a performative installation attended by non-artists - regular people with no previous experience with the performing arts and with quite different, contradictory and even divergent experiences and ideologies. Richard Gregory and Renny O’Shea, co-founders and artistic directors of Quarantine, supported by partners Sarah Hunter and Kate Daley, sought out Brazilian artists from many areas (performing, visual and fine arts, dance, cinema, music etc.) to jointly develop strategies for research, dialogue and engagement with the city and its population. In the residency’s first stage, Quarantine members shared their creative techniques and some of the devices they use for their public events. Then, the participants seek to establish a close and direct relationship with non-artists individuals normally distant from the artistic scene and voiceless in society, especially those whose political positions and ideas tend to be rejected in the progressive milieu. Activity participants are invited to identify, find and engage non-artists with whom they will work and who will later be part of a performing installation. By bringing together people who would not normally meet, Olho no Olho residency: Who Can Be Visible in São Paulo Today? will create the means for dialogue and engagement with dissident voices - approaching themselves to what Belgian political theorist Chantal Mouffe calls “agonistic pluralism”. To this end, it will develop a methodology for dissent which asserts the positive aspects of certain forms of political conflict. Thus, the residency intends to establish a space in which performers, spectators and other attendees can confront these questions: How do we act? (theatre). How can we act? (politics). How should we act? (ethics). Who is able to perform? (representation). Active for 21 years in the UK, Quarantine’s creations deal with the daily lives of regular people; the collective works so this people can present their own narratives and experiences. On stage, they are not someone else’s ideas performers, but individuals with their own history. Through this artistic and creative method, the British collective seeks to reveal non-hegemonic personal stories and memories and to give space to unofficial and divergent voices, which are generally not heard. WITH Quarantine (United Kingdom)

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ARTISTIC RESIDENCY URGENT THEATRE: AGONIZING MEETING

March 5th to 15th, every day, from 10am to 6pm (two groups), developing to a scenic experiment on the last day, March 15th, starting at 2pm Centro Cultural São Paulo Lisandro Rodriguez intends to offer an open space for questioning, exchange and thinking, seeking the continual deconstruction of representation conformed principles so that director and participants find a unique, poetic and personal scenic language. A morning group and an afternoon group will be formed, and both will work with similar themes and approaches. At the meetings, with a joint presentation of a scenic experiment on the last day, the Argentine director will work on issues related to the practice of being / acting, in order to undermine the performance usual areas and the very idea of representation. Based on minimal elements and an intimate and singular look at the world, participants will investigate how to build the scenic space and inhabit it from other assumptions. This laboratory will be an experimentation period for the show Lisandro Rodriguez will jointly create with MITsp, for the 2021 edition. Minimum requirement is that participants have at least basic practice in theatre and some artistic experience. WITH Lisandro Rodriguez (Argentina)

ARTISTIC EXCHANGE HOW NOT TO KNOW TOGETHER: WHAT TO DO WITH WHAT REMAINS_IN SITU

March 5th to 12th, every day, from 10am to 1pm, with a break on March 8th and 9th Sunday and Monday. Presentation of the scenic experiment: March 12th, Thursday, from 10am to 1pm, followed by a talk. Oficina Cultural Oswald de Andrade Most of us know that we know. Thus making us stiff and limited (knowledge is not plastic). Some of us know that they don’t know. Turning us more available and open to the world, but less adventurous. Fewer people are those who do not know they know. A rare quality that, when (ab)used with precision, in the right place at the right time, can open unexpected gaps. But the rarest and, therefore, most powerful tool, is when we manage not to know that we don’t know. When we manage to be here and now without the anxieties’ influence generated by past experiences or future expectations. How to explore the endangered body, the places of collision and the collapse borders? The activity framework conducted by educator in focus João Fiadeiro will be the performance What to Do with What Remains (to be presented at MITsp). To this end, Fiadeiro - supported by Brazilian dancer Carolina Campos, performer in the show - will work with the participants in Composition in Real Time, a scenic tool that allows to transform the arising affections when confronting with the street (and with the body’s slow degradation) in images and then in formulations-situations. There will be two groups of concomitant participants: 20 artists with experience in improvisation and 102

composition in contemporary dance, theatre and performance areas; and 10 observing educators who will be responsible for the narrative writing process (dramaturgical, discursive or scenic). WITH João Fiadeiro (Portugal)

ARTISTIC EXCHANGE THE GREAT RETURN: NO STEP BACK March 5th to 9th, Thursday to Monday, from 9am to 1pm Tusp

In times of fascism empowerment, it is urgent to resume our fighting attitude in order to avoid ghosts from the past. Performer Regina Galindo suggests a gathering and discussing urgencies experience, to think over the outcomes of blocking the natural flow of advancing, to find ways of fighting to deal with the retracting imposition. Theory and practice, mind and body, past and present. It will be a space for each participant to develop their own performative project (scenic, written, visual etc.) in discussion with the others. WITH Regina José Galindo (Guatemala

EXPERIMENTATION LAB LABEXP1 – DISOBEDIENT VOICES February 29th to March 2nd, Saturday to Monday, from 9am to 1pm Tusp

Trans performer and slammer Lia Garcia [La Novia Sirena] and musician Meno del Picchia will work the voice breaking and its fragments in this lab. The dissents’ vocal production will gain the centrepiece from the shout, the lament, the cry and the echo derived from resistance stories. The voice as a vocabulary of trans resistance, as emotive production element and as collective pain memory. On each activity day a different concept will be focused: Day 1: The wound - The injured body’s voice; the alphabet of wounds as a remnant of the contextualized city; Day 2: The scar - The wound’s residue (“here it hurt, here I healed”); the scar as a footprint and as a bodyemotive memory to weave the resistances and alliances between our struggles; Day 3: Trans / deformation - The voice as a spearhead to imagine new bodies, new worlds and new ways of speaking of our pain. The dynamics will be based on elements of the spoken word / expanded poetry, performance, trans and gender perspective and will rely on the musical provocations of Meno del Picchia. WITH Lia Garcia [La Novia Sirena] (Mexico) and Meno del Picchia (Brazil)

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EXPERIMENTATION LAB LABEXP2 – INSURGENT MEMORIES

March 4th to 6th, Wednesday to Friday. March 4th and 6th, from 9 am to 1 pm at Oficina Cultural Oswald de Andrade, and March 5th, from 9am to 4pm at Ocupação 9 de Julho Chilean director and activist Paula González and Brazilian video maker Eduardo Perez propose an autobiographical experimentation lab, in which participants will be able to investigate - through interviews and the recording of testimonies with residents of an occupation - memories, wounds and pains rooted in their bodies. Thus in order to seek a root, a connection with the land, with its ancestors and the many social and political, historical and contingent issues that cross its territory (corporal and geographical), conceiving art as a thoughtful tool of social-political transformation of individuals and their context. The video in as an attempt to capture the ephemeral and transform the story into a tangible and direct record. WITH Paula González Seguel (Chile) and Eduardo Chatagnier Perez (Brazil)

EXPERIMENTATION LAB LABEXP3 – NUISANCE PRESENCES: WHERE IS DEFIANCE?

March 10th to 13th, Tuesday to Friday, from 9am to 1pm. March 13th, will be open to the public Companhia de Teatro Heliópolis The lab aims to provoke participants to rethink the creative process beyond the institutionality of art and within the huge field of politics. Each day, the Bolivian Maria Galindo (Mujeres Creando) will conduct a theoretical and a practical session, supported by performer and visual artist Fany Magalhães. The following contents will be carried out: Day 1 - Voice in the first person (testimony; muteness; mediation); Day 2 - Occupation of public space (the street; the museum; the art system; politics); Day 3 - What is the politician today? (metaphors’ construction; the symbolic universe analysis: how many layers do the symbols have?; symbolic displacement; construction of languages) In the experimental session, there will be time for both concrete exercises and to prepare creative objects that will be performatively exhibited by each participant on the last day’s activity (March 13th), after the performance The Invisible Cage [A Jaula Invisível], by Maria Galindo. Thus, it is mandatory that each member of LABEXP bring a Bible or an old chair (of any type and size), which can be handled. WITH Maria Galindo (Bolivia) and Fany Magalhães (Brazil)

WORKSHOP THE FUTURE IS FLUID

March 2nd to 4th, Monday to Wednesday. March 2nd and 3rd, from 9am to 1pm; March 4th, from 7am to 11am Teatro Sérgio Cardoso and Parque Trianon Julie Beauvais is an artist and director currently based in Switzerland, her proposal is guided by an approach that goes beyond traditional divisions in fields (performance, 104

environmental activism), media (movement, music, performance and new media), themes (old or new paradigms, spaces, temporalities, performative and not performative forms) or methods (studio work, outdoor experiments, collective or individual initiatives). It is a biocentric experiences lab, in which deep listening, conscious movement and twilight experience are linked. Julie provides, first in class and then outdoors, an experience of deep listening to Pauline Oliveros’ compositions with the participants (human and non-human). Deep Listening allows the opening to a heightened state of consciousness and connects to everything that exists. It allows a conscious exchange to be established, in which participating humans and all other species are integrated into an interdependence and cooperation system. WITH Julie Beauvais (Switzerland)

WORKSHOP LET’S WALK TOGETHER?

March 3rd and 4th, Tuesday and Wednesday, from 6pm to 10pm Oficina Cultural Oswald de Andrade What does to walk mean? What does it mean to walk together? In a world where we keep talking about global feminism (as if it were an entity), how is my feminism different from yours? Being present in a public space implies consent of a certain type: to be looked at, to be harassed or hassled? Does consent also work passively? What role does the look of the other play in our lives? Does it set us free? Does it trap us? Indian artist Mallika Taneja proposes a space for sharing thoughts on the city being allowed to women - whether New Delhi or São Paulo - and testimonies on the risks and vulnerability of being a woman and being on the street, especially at night. The workshop will be a period of coexistence, dialogue and bonds of trust development between the participants in order to produce a performative act of collective care: a night march through the streets of São Paulo, scheduled for March 7th, in which women escort other women and protect themselves. WITH Mallika Taneja (India)

WORKSHOP AUTHORSHIP AT STAKE: FROM DOMINANT TO PRIVATE March 7th and 8th, Saturday and Sunday, from 10am to 1pm Companhia de Teatro Heliópolis

In this workshop, Chilean playwright Pablo Manzi will discuss and dialogue around two fundamental areas in the creation of Bonobo Co.: authorship and improvisation. In the first session, the proposal is to talk about what we understand by authorship and how the dominant (“official”) world and the private, intimate world are related. In the second session, company members will create improvised scenes and, from there, artists and participants will discuss the possibilities generated by improvisation as a dramaturgical creation ground. WITH Pablo Manzi and Co. artists. Bonobo (Chile) 105

WORKSHOP UNDER THE RUBBLE: INTRODUCTION TO THE MATERIAL OF CROWD March 10th, Tuesday, from 10am to 1pm Centro Cultural São Paulo

How does the body react and what is its availability after a mind-blowing party, guided by collective euphoria and the gruelling desire to break physical barriers? How to preserve a liquid and wavy physicality? In this intensive workshop, participants will be able to try artist Gisèle Vienne’s method through working with the choreographic material of her show Crowd. WITH Gisèle Vienne (France)

WORKSHOP A THEATRE THAT IS OUR: WRITING FOR PEOPLE March 13th and 14th, Friday and Saturday, from 10am to 1pm. Sesi São Paulo

In Latin colaborare means working together (but it can also mean “aching together” or “being tired together”) and has always been an exercise of empathy. Portuguese director Tiago Rodrigues, artist in focus of MITsp 2020, proposes in this workshop an exercise in finding our own voice in theatre through writing for the other. “I never just write,” he says, “I always write for someone. And more than writing for actors, dancers or performers, I try to write for Isabel, Pedro, Sofia, Vitor, Frank, Jolente.” Therefore, it is not a question of adapting to someone else’s aesthetics or politics or of cancelling one’s own voice, but about participating in the world with others, becoming the other while we are still us. It is an invitation to all artists interested in text theatre and collaborative work. WITH Tiago Rodrigues (Portugal)

WORKSHOP INVESTIGATIONS FOR THE BODY’S SAVAGERY

March 9th and 10th, Monday and Tuesday, from 9am to 1pm Oficina Cultural Oswald de Andrade

In Brazil, while the toucans dance, the horses run and the monkeys jump, the flora screams. Here, everyone acts. Abaporu savagery at the country’s central plateau bossa. Imitation or escape? Instinct or plan? It’s worth understanding the signs and then moving on. It’s worth to sabotage the trap and then move on. Based on the practices of invention and weakening of body techniques, participants will gather action, repetition and composition procedures to then discover statements for work that are beyond the surface. WITH Andréia Pires (Brazil) 106

MASTERCLASS WRITING WITH THE SETTING March 13th, Friday, from 10:30am to 1:30pm Sesc Vila Mariana

French director Philippe Quesne, when using a type of mechanical research, creates a technical theatre lab that intelligently modifies the genre’s conventions and generates an ambiguous universe in which dreams and matter, sounds and words, smoke and light, loneliness and group all mingle. Everything converges to validate what cannot be mastered, creating - along with the obvious fun and laughter - a feeling of unrest, a need to ask questions and distort our view of the world. When working with the scenic presence realism, the actors overflow what they call a dead stage, adapting themselves to space with the detachment and focus of someone trapped in their own private universe. Strange and disturbing, Quesne’s work, in its apparent ease in movement and sequencing, highlights concerns about our social organization, our ability to be human. The conference will be an opportunity to discover the French director’s work and the importance of space and define his process of creation through discussions and observation of images. WITH Philippe Quesne (France)

WORKSHOP SUSPICIOUS: PERFORMATIVE CHOREOGRAPHIES OF DAILY CONFRONTATION March 10th and 11th, Tuesday and Wednesday, from 10am to 2pm Tendal da Lapa

Peripheral body, indigenous body, quilombola body, marginal body. Suspected of challenging the status quo and established privileges. Inspired on the actual and past reality of the invaded, exploited, colonized and murdered peoples in Brazil, the workshop proposes a dance experience that is almost nothing: spasms that are choreographed from the look of the other and the cracked movements of breaking dance. SUSPECT is the research’s unfolding initiated with tReta, when examining the body, gesture and movements of daily confrontations of young people in resistance conditions. WITH Original Bomber Crew (Piauí)

DOCUMENTARY WHILE WE TALKED ABOUT POLITICAL PERFORMATIVITIES I OCCASIONALLY SNEAKED VOICES AND FACES - AN AUDIOVISUAL CRITICISM ON MITsp’s EDUCATIONAL ACTIVITIES March 2nd, Monday, from 7pm Casa do Povo

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Following the performance Scar [Cicatriz], by Lia Garcia [La Novia Sirena], this documentary written, directed and edited by Matheus Parizi and curated and having original idea by Maria Fernanda Vomero will be screened. In this essay-film on the Educational Activities axis of MITsp 2019, debates remnants and experiments that took place are contaminated with the filmmaker’s first-person experience. After the screening, there will be a brief chat with director Matheus Parizi. BY Matheus Parizi (Brazil)

PANELS PERFORMING TALK WHAT I AM I WAS NOT BY MYSELF March 9th, Monday, from 11am to 1pm Oficina Cultural Oswald de Andrade

It is a chat between two people in a format resembling a talk show, occasionally interrupted by deviations blocking its progression and postponing its conclusion. These deviations (these shows), done and undone as the conversation (the talk) unfolds, generate new perception and relationship spaces with the event’s driving force, causing the viewer to “come and go” between the conversation meaning and performance direction. WITH João Fiadeiro (Portugal) and Maria Fernanda Vomero (Brazil)

SELF WRITINGS: FEMINISM, PERFORMANCE AND POLITICS March 10th, Tuesday, from 11am to 1pm Tusp

Researcher in focus at MITsp, artist Janaina Leite interviews Guatemalan performer Regina Galindo on how artistic practices can challenge the setbacks imposed on the world, especially the American continent. WITH Regina José Galindo (Guatemala) and Janaina Leite (Brazil)

TRANS*PEDAGOGIES OF AFFECTION BEFORE DEATH POLICIES March 3rd, Tuesday, from 11am to 1pm Casa do Povo

In this performing dialogue, Lia Garcia shares how she has developed, throughout a decade, her affection pedagogy project based on body (cuerpa) trans * (due to the trivialization of the word, the artist writes it with an asterisk at the end) in Mexico’s context, establishing links with the situation in Brazil, as they became two emergency pins where more trans * people worldwide are murdered. Questions that will be shared, 108

hand-to-hand (cuerpa a cuerpa): are affections a political bet of social trans*formation? What could be the trans*resistance to death policies? Is the trans*experience a collective experience? WITH Lia Garcia [La Novia Sirena] (Mexico) MEDIATION Maria Fernanda Vomero (Brazil)

MEMORIES, ROOTS AND MAPUCHE THEATRE IN TODAY’S CHILE March 7th, Saturday, from 11am to 1pm Oficina Cultural Oswald de Andrade

Paula is the great-granddaughter of Machi Rosa Marileo Inglés, Mapuche people’s ancestral authority. Founder and artistic director of KIMVN theatre Co., she is dedicated to the rescue of memory, orality, language, worldview and the culture of the Mapuche people and the defense of indigenous human rights through the performing arts, music and cinema. Within this dialogue, Paula will share the challenges of making art in the current convulsive Chile, where cases of human rights violations have increased in a frightening way, especially the abuses against the Mapuche people. WITH Paula González Seguel (Chile) MEDIATION Maria Fernanda Vomero (Brazil)

MEETING OF THEATRA’S PEDAGOGIES: AFFECTIVITIES OF KNOWING TO RISK AND TAKE RISK CURATOR Dodi Leal (SP/BA) COORDINATION Maria Fernanda Vomero (SP) The Meeting is a space to revive theatrical creation methodologies from the disruptive experiences of non-dominant knowledge. Thoughtful and practical exchanges will be carried out in which the corporealities take risks in new possibilities of finding: other ways of crisscrossing space and scene making. The combination of panels and workshops, soirée and gatherings intends to spur the vectorized affections by the transfeminist perspective of gender transition in the theatrical area: from the theatre to the theatra. We intend to incite new pedagogies based on trans knowledge.

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PERFORMATIC OPENING WITH JO CLIFFORD March 10th, Tuesday, at 10am Centro Cultural São Paulo

AFFECTION WORKSHOP #SEQUERCOMBINA

March 10th and 11th, Tuesday and Wednesday, from 10:30am to 1:00pm Centro Cultural São Paulo We kick-off from social challenges of transgender experience to dialogically and scenically seek creative forms of expansion and subjective exchanges linked to affectivity. WITH Marina Mathey (SP) and Ave Terrena Alves (SP)

PANEL TRANSITION PEDAGOGIES March 10th, Tuesday, from 2pm to 5pm Centro Cultural São Paulo

We intend to think on the disruptive creation and exchange processes that risk new affections as a methodology of living together. WITH Vulcânica Pokaropa Costacurta (SP) and Amara Moira (SP) MEDIATION Dodi Leal (SP / BA)

PERFORMANCE BREASTFEEDING ZEUS HARD PRICK MILK; BUMBLEBEE DOESN’T MAKE HONEY, BUT IT DOESN’T BREASTFEED EITHER March 10th, Tuesday, from 5pm to 6pm Centro Cultural São Paulo

Thinking of those to whom milk has always been denied, the performance intends to invert focus on the table, the teats, our bodies (corpas) and question what is milk, what is honey, what is eaten, what is enjoyed, what is pleasure, what is nutrition; what is it to give, to nourish the body, the social, the spirit? WITH Caz Ångela Apolinário Rodrigues (TO / BA)

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THEATRA SKIT: GOTA TRAVA (THE LAST TRANS)

March 11th, Wednesday, from 2pm to 3pm Centro Cultural São Paulo Based on Euripides’ Medea and the version of The Last Straw, by Chico Buarque and Paulo Pontes, the project is built on Teatra da Oprimida as a work perspective considering the games, techniques and theatrical exercises considering the transfeminism struggle. WITH ILUMILUTAS / UFSB DEBATE Vinicius Santos (BA)

SARARÁ TRANS (BLACK TRANS)

March 11th, Wednesday, from 3pm to 6pm Centro Cultural São Paulo It is a space for thinking and exchange of artistic practices around the non-dominant resistances of bodies.

PANEL THE BLACKNESSES AND TRANSGENERITIES MEETING WITH Erica Malunguinho (PE / SP) and Rosa Luz (DF / SP) MEDIATION Khalil Piloto (BA)

MUSICAL GIGS

WITH Jackie Chean (BA), Rosa Luz (DF / SP) and Danna Lisboa (SP)

POETIC AND VISUAL EXHIBITION (VIRTUAL) BY Preto Téo (BA / SP) and Marina Silvério (MG)

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SPECIAL EVENTS ANTICOLONIAL PERSPECTIVES SEMINAR

CURATORS Andreia Duarte, Christine Greiner and José Fernando Peixoto de Azevedo The initial proposal of this seminar is to establish some meetings among researchers who have thought about decolonisation (or uncolonisation) process. Each in his own way has faced traumas, silencing, the plurality of worlds, the uniqueness of bodies. The idea is to provoke crossings, the opportunity of talking, of listening.

ANTICOLONIAL ESSAYS SHARED STUDIES March 2nd, Monday, from 2pm to 8pm Goethe Institut

Andréia Duarte, Christine Greiner and José Fernando Peixoto de Azevedo, curators of the Anticolonial Perspectives Seminar, hold a panel at this meeting on issues that apply to their research and which also cross this curatorship.

MEETINGS ANTICOLONIAL PERSPECTIVE

Sesc Avenida Paulista

The debates bring together researchers, artists and activists who work in different areas and cultural contexts to answer the question: “What can we still imagine together?”

PANEL 1 ABOUT TIME

March 6th, Friday, from 10am to 1pm WITH Ailton Krenak and Paulo Arantes

PANEL 2 ABOUT ACTIONS

March 6th, Friday, from 2pm to 5pm WITH Grace Passô, Paula González and Eleonora Fabião

PANEL 3 PAST: CONTINUITY AND RUPTURE March 7th, Saturday, from 10am to 1pm WITH Peter Pál Pelbart and Luiz Felipe de Alencastro

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PANEL 4 ABOUT THE ORDINARY March 7th, Saturday, from 2pm to 5pm WITH Jean Tible and Ana Kieffer

TRIBUTE TO FRANCISCO MEDEIROS March 9th, from 1:30pm to 3:30pm Itaú Cultural - Sala Multiuso A tribute to theatre director Francisco Medeiros, who died in October 2019, happens at this meeting. Fragments of plays highlighting his 40-year trajectory will be screened, as well as readings and live performances by friends, actors, playwrights and directors. ORGANIZATION Chris Greiner, Plínio and Zé Rubens GUESTS José Rubens Siqueira, Elias Andreato, Gabriela Rabelo, Tânia Bondezan, Marcello Airoldi, Tereza Menezes, Núcleo Argonautas, Márcia Abujamra and others

THE SPECTATOR AND THE SCENE READING March 11th, Wednesday, from 5pm to 7pm Itaú Cultural - Sala Vermelha How to develop public policies and operating means that provide to the viewer building a fruitful relation with the show? How to think today the dialogue not about the scene, but with the scene? Based on attempts to answer these questions, the French actor, director and set designer Thomas Jolly, director of the National Drama Centre Le Quai in Angers, and Flávio Desgranges, director of INERTE group and researcher on the relationship between the viewer and the scene, expose their thoughts on the topic and answer to questions. WITH Thomas Jolly and Flávio Desgranges COORDINATION Maria Lúcia Pupo

RHYTHMIC CRACKS EMILY BEANEY + LOWRI EVANS Information on mitsp.org

Inspired by the book Invisible Women, by Caroline Criado-Perez, the experimental residency, promoted by British Council alongside Creative Scotland, unites female artists from the UK and Brazil in a creative workshop. Exploring ideas about the gender data gap and how data bias/dis-functional gendered rhythms affect the lives of performers, we will make wearable sculptures, rhythmic movement sequences and improvised performances.

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ADRESSES AUDITÓRIO IBIRAPUERA OSCAR NIEMEYER Avenida Pedro Álvares Cabral, s/n Parque Ibirapuera Tel. +55 11 3629-1075 BIBLIOTECA MÁRIO DE ANDRADE Rua da Consolação, 94, República Tel. +55 11 3775-0002 CASA DO POVO Rua Três Rios, 252, Bom Retiro Tel. +55 11 3146-7439 CENTRO DE REFERÊNCIA DA DANÇA Galeria Formosa Baixos do Viaduto do Chá, s/n, Centro Tel.+55 11 3214-3249 CENTRO CULTURAL DA DIVERSIDADE Rua Lopes Neto, 206, Itaim Bibi Tel. +55 11 3079-3438 CENTRO CULTURAL FIESP TEATRO SESI SP Avenida Paulista, 1313, Jardins Tel. +55 11 3528-2000 CENTRO CULTURAL SÃO PAULO Rua Vergueiro, 1000, Metrô Vergueiro Tel. +55 11 3397-4002 COMPANHIA DE TEATRO HELIÓPOLIS Rua Silva Bueno, 1533, Ipiranga Tel. +55 11 2060-0318 ESPAÇO CULTURAL TENDAL DA LAPA Rua Guaicurus, 1100, Água Branca Tel. +55 11 3862-1837 GOETHE-INSTITUT SÃO PAULO Rua Lisboa, 974, Pinheiros Tel. +55 11 3296-7000 ITAÚ CULTURAL Avenida Paulista, 149, Bela Vista Tel. +55 11 2168-1777 OCUPAÇÃO 9 DE JULHO Rua Álvaro de Carvalho, 427, Bela Vista s/ tel. OFICINA CULTURAL OSWALD DE ANDRADE Rua Três Rios, 363, Bom Retiro Tel. +55 11 3222-2662

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PARQUE TRIANON Rua Peixoto Gomide, 949, Cerqueira César Tel. +55 11 3289-2160 SESC AVENIDA PAULISTA Avenida Paulista, 119, Bela Vista Tel. +55 11 3170-0800 SESC VILA MARIANA Rua Pelotas, 141, Vila Mariana Tel. +55 11 5080-3000 SESC PINHEIROS Rua Paes Lemes, 195, Pinheiros Tel. +55 11 3095-9400 TEATRO ALFREDO MESQUITA Avenida Santos Dumont, 1770, Santana Tel. +55 11 2221-3657 TEATRO CACILDA BECKER Rua Tito, 295, Lapa Tel. +55 11 3864-4513 TEATRO CULTURA INGLESA PINHEIROS Rua Dep. Lacerda Franco, 333, Pinheiros Tel. +55 11 3032-4888 TEATRO FAAP Rua Alagoas, 903, Higienópolis Tel. +55 11 3662-7232 TEATRO PORTO SEGURO Rua Alameda Barão de Piracicaba, 740, Campos Elíseos Tel. +55 11 3226-7300 TEATRO SÉRGIO CARDOSO Rua Rui Barbosa, 153, Bela Vista Tel. +55 11 3288-0136 TUSP - TEATRO DA USP Rua Maria Antônia, 294, Vila Buarque Tel. +55 11 3123-5222 VILA ITORORÓ Rua Pedroso, 238, Bela Vista Tel. +55 11 3253-0187

OFF-CIRCUIT Enjoy the off-circuit program that happens simultaneously to MITsp. The first edition of FarOFFa - Performing Arts Parallel Circuit happens at many venues in São Paulo. Mungunzá Theatre Co. also has its own off-circuit, presenting shows from its repertoire and hosting other artists to its venue.

FarOFFa March 10th to 15th | faroffa.com.br 28 Patas Furiosas Alejandro Ahmed Ana Flávia Cavalcanti André Capuano Balangandança Cia. Barca dos Corações Partidos Barulhista Calderón / Moschkovich Cia. Bendita Cia. Candongas Cia. do Fubá Cia do Sal Cia LCT + À Deriva Cia Nova de Teatro Cia Zug ColetivA Ocupação e Martha Kiss Perrone

Coletivo Legítima Defesa Eduardo Okamoto Elisabeth Finger e Manuela Eichner Estelar de Teatro Flávia Pinheiro Fabrício Licursi Fause Haten Gabriela Carneiro da Cunha Gilberto Gawronski GRUA – Gentlemen de Rua Heterônimos Coletivo de Teatro Isis Madi & Bruno Garcia José Fernando Peixoto de Azevedo

+ Mungunzá

Juliana França Key Zetta & Cia Lavínia Pannunzio Lume Teatro Maikon K Marina Guzzo Maurício Florez Michelle Moura Natália Mallo Núcleo Bartolomeu de Depoimentos e Aliados Pedro Granato Pedro e Ricardo Kosovski Renata Carvalho Teatro da Vertigem Vicente Antunes Ramos Vulcão ultraVioleta_s Wagner Schwartz

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TECHNICAL SHEET – MITsp 2020

CONCEPTION AND ARTISTIC DIRECTOR

MITBR - BRAZIL PLATFORM COORDINATOR

Antonio Araujo

Richard Santana

CONCEPTION AND EXECUTIVE DIRECTOR

REVISTA CARTOGRAFIAS, WEBSITE, APP

Guilherme Marques

AND GUIDE COORDINATOR, EDITOR,

INSTITUTIONAL DIRECTOR Rafael Steinhauser INSTITUTIONAL RELATIONS Jenia Kolesnikova NATIONAL AND INTERNATIONAL RELATIONS Natália Machiaveli INTERNACIONAL RELATIONS MITbr BRAZIL PLATFORM Fernando Ruiz Braul CRITICAL REGARDS CURATOR Daniele Avila Small and Luciana Eastwood Romagnolli EDUCATIONAL ACTIVITIES CURATOR Maria Fernanda Vomero ENCONTRA DE PEDAGOGIA DA TEATRA CURATOR Dodi Leal

WRITER AND EDITORIAL CONTENT SUPERVISOR Maria Luísa Barsanelli FUNDRAISING AND SUPPORT ADVISORY AND EXECUTIVE PRODUCTION Anamaria Boschi EXECUTIVE PRODUCERS Giovanna Monteiro and Paulo Gircys EDUCATIONAL ACTIVITIES PRODUCER Luiz Sztutman CRITICS CORNER PRE-PRODUCTION Ericah Azeviche ANTI-COLONIAL PERSPECTIVES SEMINAR PRODUCTION Luna Recaldes REFLECTIVE AND EDUCATIONAL AXES PRODUCTION Amanda Tavares, Ana Paula

MITbr - BRAZIL PLATFORM CURATOR

Leandro, Eliane Monteiro, Lucas Pradino

Alejandro Ahmed, Francis Wilker and

and Michelle Barreto

Grace Passô

LOCAL PRODUCERS/PLAYS Dora Leão,

ANTI-COLONIAL PERSPECTIVES SEMINAR

Julia Gomes, Julio Cesarini, Ney Wellington

CURATOR Andreia Duarte, Christine Greiner

Bahia, Olivia Maia Barcellos, Patricia Souza

and José Fernando Peixoto de Azevedo

Ceschi, Paulo Mattos and Pedro de Freitas

EXECUTIVE PRODUCER COORDINATOR

TECHNICAL COORDINATOR/PLAYS

Rachel Brumana

Cauê Gouveia, César Martini, Diego Francisco,

FINANCE AND ADMINISTRATION

Fernanda Guedella, Lara Bordin, Melissa

COORDINATOR Patrícia Perez COMMUNICATION COORDINATOR

Guimarães, Randal Juliano, Raquel Balekian and Ronaldo Zero

Marcia Marques | Canal Aberto

LEGAL ADVISER José Augusto Vieira de Aquino

PUBLIC RELATIONS COORDINATOR

ACCOUNTING AND TRIBUTARY ADVISER

Carminha Gongora TECHNICAL COORDINATORS

Carvalho Ramos Consultoria Contábil Tributária S/S

André Boll and Grazi Vieira

DIRECTION ASSISTANCE Marina Watanabe

LOGISTICS COORDINATOR

FINANCE AND ADMINISTRATION

Marisa Riccitelli Sant´ana REFLECTIVE AND EDUCATIONAL AXES COORDINATOR Andreia Duarte

COORDINATION ASSISTANTS Hiago Marques and Nathália Monteiro NATIONAL AND INTERNATIONAL RELATIONS COORDINATION ASSISTANT Paula Malfatti

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COMMUNICATION ASSISTANTS

TECHNICAL AND EDITORIAL CONTENT

Daniele Valério, Flávia Fontes de Oliveira

TRANSLATOR Kevin Kraus

and Kelly Santos | Canal Aberto

REFLECTIVE AND EDUCATIONAL AXES

LOGISTIC COORDINATION ASSISTANTS

TRANSLATORS Amanda Tavares,

Carol Vidotti, Lipe Lima, Luiza Alves and

Bárbara Ferreira, David Atencio, José Machado,

Wander Otoni Ferreira

Julianete Azevedo, Kevin Kraus and

RECEPTIONISTS Carol Vidotti and Larissa Ballarotti REFLECTIVE AND EDUCATIONAL AXES

Letícia Rodrigues SUBTITLES AND TEXT TRANSLATOR Casarini Produções

COORDINATION ASSISTANTS

EDITORIAL CONTENT REVISOR

Luna Recaldes

Grená Conteúdo Multiplataforma

MITbr - BRAZIL PLATFORM EXECUTIVE

VISUAL IDENTITY AND GRAPHIC DESIGN

PRODUCER Leonardo Monteiro

Casaplanta + Lila Botter

TECHNICAL COORDINATION ASSISTANT

WEBSITE GRAPHIC DESIGNER Marina Duca

Luana Gouveia MITbr - BRAZIL PLATFORM LOCAL PRODUCTION ASSISTANTS Alder Augusto, Alexandre Vasconcelos, Cibelle Lima, Marcos

MITsp 2020 APP DEVELOPER Nodo Digital PHOTOGRAPHERS Guto Muniz, Nereu Jr. and Silvia Machado

Emanoel, Mariana Câmara, Ney Wellington

PHOTOGRAPHY ASSISTANT

Bahia, Paulo Mattos and Vanise Carneiro

Lucas Oliveira

EDITING, WRITING AND EDITORIAL

VIDEOS AND LIVE STREAM ERA -

CONTENT ASSISTANT Mariana Marinho

Empório de Relacionamentos Artísticos

MITBR - BRAZIL PLATFORM INTERMEDIATE

SCRIPTS FOR PROMOTIONAL AND

Ferdinando Martins

INSTITUTIONAL VIDEOS

MITbr - BRAZIL PLATFORM / GROUPS

Flávia Fontes de Oliveira

INTERNATIONALIZATION COSULTANT

AUDIO RECORDING AND EDITION (VIDEOS

Iva Horvat

AND VOICE-OVERS) Fluxo Produções

TECHNICAL AND SCENOGRAPHIC

SPEAKERS Fernanda Ferreira

CONSULTANT Carol Bucek

de Moraes Zanchini

AUDIO EQUIPMENTS CONSULTANT

OPENING CEREMONY DIRECTOR Luh Mazza

Guilherme Ramos

MASTER OF CEREMONIES Renata Carvalho

VIDEO AND EQUIPMENTS CONSULTANT

GENERAL ASSISTANT Jair Nascimento

Marcos Santos SOCIAL MEDIA Ana Elisa Faria SOCIAL MEDIA PRE-PRODUCTION Rafael Ventuna REVISTA CARTOGRAFIAS EDITORS Daniele Avila Small, Luciana Eastwood Romagnolli and Sílvia Fernandes

NUTRITIONIST Cleria de Oliveira Moura RESOURCE FUNDING BOOK Osvaldo Piva TECHNICAL ASSISTANT/COMPUTERS Worklook Tecnologia ARTWORKS THAT CONSTITUTE MITsp 2020 VISUAL IDENTITY Henrique Oliveira

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ACKNOWLEDGMENTS

Adolfo Barreto

Danilo Santos de Miranda

Heloisa Cuente Pisani

Adriana Monteiro

Debora Hummel

Hugo Gravanita

Alê Youssef

Debora Viana

Hugo Possolo

Alejandro Alberto Sfeir

Diogo Rios

In Sung Park (Jack)

Tonsic

Dorota Kwinta

Ivan Gianinni

Alexandra Pinho

Dulce Vivas

Joel Naimayer Padula

Álvaro Machado

ECAD Central Bureau for

Joselia Aguiar and team from

Alexandre Pietro and team

Collection and Distribution

Biblioteca Mario de Andrade

from Auditório Ibirapuera

Edson Natale

Julian Christopher Fuchs

Oscar Niemayer

Eduardo Dias

Juliane Gomes

Alice Grisa

de Souza Ferreira

Julio Cesar Doria Alves

Ana de Luna

Eduardo Fragoaz

Julius Calaminus

Ana Marques

Eduardo Saron

Junia Saluh

André Acioli

Eduardo Suplicy

Karine Legrand

André Carreira

Estela Silva

Kelly Adriano de Oliveira

André Cortez

Elodie Meunier

Kil Abreu

André Fischer and team

Emerson Pirola

Leandro Teodora Ferreira

from Centro Cultural da

Team from Leis Estadual

Leslie Arias

Diversidade

and Federal de Incentivo

Liliane Rebelo and team

André Mendes

à Cultura

from Cultura Inglesa

André Vilela

Team from Centro de

Louis Logodin

Andrea Nogueira

Referência da Dança da

Lucas Bêda

Anna Helena da Costa

Cidade de São Paulo

Luciene Cavalcante

Polistchuk

Erica Mourão Trindade and

Maíra Pompeo

Aurea Leszczynski Vieira

team from Sesc Vila Mariana

Mamudo Djante

Gonçalves

Erika Palomino and team

Marcia M. Silva

Bel Toledo and team

from Centro Cultural

Marcio Gallacci and team

from Centro Cultural

São Paulo

from Teatro Sérgio Cardoso

Tendal da Lapa

Eustáquio Gugliemelli

Marcio Vidal Marinho

Benjamin Seroussi and team

Fause Haten

Marcos Bednarski

from Casa do Povo

Felipe Mancebo and team

Marcos Felipe and team

Bethe Ferreira

from Sesc Avenida Paulista

from Cia. Mungunzá

Carlos Eduardo Hashish

Flavia Carvalho and team

Maria Beatriz Costa Cardoso

Carlos Giannazi

from Sesc Pinheiros

Maria Carolina Ribeiro

Catarina Duncan

Flavio Henrique

Marian Arbre

Celso Giannazi

Frederico Mascarenhas

Marília Bonas

Claudia Hamra and team

Gabriela Gonçalves and

Mario Rubio

from Teatro Faap

team from Corpo Rastreado

Martin Vilares and team

Claudia Pedrozo

Gaelle Massicos Bitty

from Feiras e Congressos

Cristina Becker

Galeria Millan

Mateus Furlanetto

Daisaku Ikeda

Galiana Brasil and team

Matthias Makowski

from Itaú Cultural

Matthieu Branders

Grzegorz Mielec

Mauricio Garcia

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Michel Huck

Rosana Paulo da Cunha

Michele Gialdroni and team

Rosangela Quaresma

from Istituto Italiano

Rose Silveira Souza

di Cultura di San Paolo

Rubens Carsoni

Miguel Rocha and team

Rudifran Almeida Pompeo

from Companhia de Teatro

and team from Cooperativa

Heliópolis

Paulista de Teatro

Milú Villela

Sandra Moreira

Miriam Rinaldi

Sérgio Dávila

Mônica Fernandes

Dorberto Carvalho and

Natália Aquino Cesário

team from SATED/SP -

Natália Risovas

Artists and Performing Arts

Nilton Cury and team from

Technicians Union, in the

Teatro Alfredo Mesquita

State of São Paulo

Centre for International

Sérgio de Carvalho and team

Performing Arts Festivals

from TUSP

in Brazil

Sérgio Luiz

Pablo Moreira

Sérgio Sá Leitão

Paola de Marco

Simone Malina

Patricia Roggero and team

Brazilian Society

from Teatro Cacilda Becker

of Authors - SBAT

Paulo Mazieri

Sonia Regina Viveiros Brocca

Paulo Pina

Stephanie Genesini

Pedro Gomides

Sulla Andreato and team

Pedro Granato

from Centro de Referência

Perrine Warme-Janville

da Dança de São Paulo

Professors at ECA-USP

Taís Lara

Dramatic Arts Department

Tatiana Lazarini Fonseca

Puja Kausnik

Telma Baliello

Rafael Espadine

Thais Zem

Rafael Ferro and team from

Tião Soares

Ocupação 9 de Julho

Urs Brönnimann and

Rafael Presto

team from General

Raphaëlle Lapierre-Houssian

Consulate of Switzerland

Regina Varandas

Valdir de Jesus Rivabenand

Ricardo G. Neuding

team from da Oficina

Roberta Brum

Cultural Oswald de Andrade

Rodrigo Maia de Lorena

Vanessa Riquelme Carriel

Pires

Youngsang Kwon

Rodrigo Mathias Rogério Ianelli

119

SHOW’S GRID 5 THU

MITsp PROGRAM

SPECIAL

MITbr

8pm [for guests] | Auditório Ibirapuera

CROWD

7pm | Itaú Cultural 6 FRI

BE CAREFUL

9pm | Auditório Ibirapuera

CROWD

9pm | Sesc Avenida Paulista

SAMEDI DÉTENTE

9pm | Sesc Pinheiros

MOTHER HOUSE

9pm | CCSP THE GOSPEL ACCORDING TO JESUS, QUEEN OF HEAVEN – JO CLIFFORD 4pm | Teatro Sérgio Cardoso

6pm | Teatro Sérgio Cardoso

ORLANDO

7 SAT

7pm | Teatro Cacilda Becker

WHAT TO DO WITH WHAT REMAINS 9pm | Auditório Ibirapuera

CROWD

9pm | Sesc Avenida Paulista

SAMEDI DÉTENTE

7pm | Itaú Cultural

BE CAREFUL

9pm | Sesc Pinheiros

MOTHER HOUSE

9pm | Teatro Porto Seguro

YOU SHALL LOVE

9pm | CCSP THE GOSPEL ACCORDING TO JESUS, QUEEN OF HEAVEN – JO CLIFFORD 4pm | Teatro Sérgio Cardoso

ORLANDO

6pm | Sesc Pinheiros

8 SUN

MOTHER HOUSE

5pm | Itaú Cultural

BE CAREFUL

6pm | Sesc Avenida Paulista

SAMEDI DÉTENTE

6pm | Teatro Sérgio Cardoso

ORLANDO

6:30pm | CCSP

THE GOSPEL ACCORDING TO JESUS, QUEEN OF HEAVEN – RENATA CARVALHO 7pm | Itaú Cultural

BE CAREFUL

7pm | Teatro Cacilda Becker

WHAT TO DO WITH WHAT REMAINS

8pm | Teatro Porto Seguro

10 TUE

9 MON

YOU SHALL LOVE

7pm | Teatro Sérgio Cardoso

JERK

WHAT TO DO WITH WHAT REMAINS

7pm | Teatro Sérgio Cardoso

JERK

9pm | Teatro Faap

BY HEART 122

7pm | Teatro Cacilda Becker

9pm | Teatro Cultura Inglesa

THE CLAIM

6pm | Teatro do Sesi

11 WED

THE LAST STRAW {BLACK} 7pm | Teatro Sérgio Cardoso

JERK

8pm | Teatro Cacilda Becker

STABAT MATER 9pm | Teatro Faap

BY HEART

9pm | Teatro Cultura Inglesa

THE CLAIM

MIDNIGHT

4pm | Teatro Alfredo Mesquita

6pm | Centro Cultural da Diversidade

7pm | Itaú Cultural

8pm | Teatro Cacilda Becker

MIDNIGHT 12 THU

9pm | Teatro Alfredo Mesquita

VIOLENT.

FORTALEZA 2040 9pm | Teatro Faap

BY HEART

STABAT MATER

9pm | Sesc Vila Mariana

FARM FATALE

9pm | Teatro Cultura Inglesa

9pm | Teatro Sérgio Cardoso

THE CLAIM

WHERE THE PIGS GO

5pm | Teatro Sérgio Cardoso

13 FRI

WHERE THE PIGS GO 7pm | CCSP

7pm | Biblioteca Mário de Andrade

8pm | Teatro Sesi SP

8pm | Tendal da Lapa

BURGERZ

TERMINAL SONGBOOK

BLOW

TRETA

9pm | Sesc Vila Mariana

9pm | Centro Cultural da Diversidade

FARM FATALE

6:30pm | CCSP

RECOLON

14 SAT

BURGERZ

THE SOLAR ANUS

7pm | Biblioteca Mário de Andrade

TERMINAL SONGBOOK

8pm | Teatro Sesi SP

BLOW

WORSTWARD ON

VIOLENT.

5pm | Vila Itororó 7pm | CCSP

9pm | CCSP

7pm | Teatro Cacilda Becker

BETWEEN THE LINES

8pm | Tendal da Lapa

TRETA

7pm | Centro de Referência da Dança

ZOO

8pm | CCSP

WORSTWARD ON

9pm | Sesc Vila Mariana

FARM FATALE

4pm | Teatro Cacilda Becker 15 SUN

BETWEEN THE LINES 5pm | Vila Itororó

5pm | Centro de Referência da Dança

RECOLON

6:30pm | CCSP

THE SOLAR ANUS

ZOO

7pm | Teatro Sesi SP

BLOW

7pm | CCSP

BURGERZ 123

CRITICAL REGARDS AND EDUCATIONAL ACTIVITIES EDUCATIONAL ACTIVITIES

CRITICAL REGARDS

SPECIAL EVENTS

2pm to 8pm | Goethe-Institut

2 MON

ANTICOLONIAL PERSPECTIVES SEMINAR ANTICOLONIAL ESSAYS SHARED STUDIES 5:30pm | Oficina Cultural Oswald de Andrade

PERFORMANCE SCAR 7pm | Casa do Povo

3 TUE

DOCUMENTARY WHILE WE TALKED ABOUT POLITICAL PERFORMATIVITIES I OCCASIONALLY SNEAKED VOICES AND FACES - AN AUDIOVISUAL CRITICISM ON MITsp’s EDUCATIONAL ACTIVITIES 11am to 1pm | Casa do Povo

PANEL TRANS*PEDAGOGIES OF AFFECTION BEFORE DEATH POLICIES 10am to 1pm | Sesc Avenida Paulista

6 FRI

ANTICOLONIAL PERSPECTIVES SEMINAR PANEL 1: ABOUT TIME 2pm to 5pm | Sesc Avenida Paulista

ANTICOLONIAL PERSPECTIVES SEMINAR PANEL 2: ABOUT ACTIONS After the 9pm session | Sesc Pinheiros

THOUGHT-IN-PROCESS IMMORAL TALES – PART 1: MOTHER HOUSE

124

10am to 1pm | Sesc Avenida Paulista

ANTICOLONIAL PERSPECTIVES SEMINAR PANEL 3 PAST: CONTINUITY AND RUPTURE 11am to 1pm | Oficina Cultural Oswald de Andrade

7 SAT

PANEL MEMORIES, ROOTS AND MAPUCHE THEATRE IN TODAY’S CHILE 2pm | Centro Cultural São Paulo

PERFORMATIVE INSTALLATION OLHO NO OLHO: WHO CAN BE VISIBLE IN SÃO PAULO TODAY? 2pm to 5pm | Sesc Avenida Paulista

ANTICOLONIAL PERSPECTIVES SEMINAR PANEL 4 ABOUT THE ORDINARY 11pm | Gathering in front of Itaú Cultural

PERFORMANCE NIGHT WALK: WOMEN MARCHING AT MIDNIGHT 10:30am to 12:30pm | Itaú Cultural

BOOK LAUNCHES 1:30pm to 3:30pm | Itaú Cultural

8 SUN

DEBATE CONTEMPORARY SCENE: CRITICAL PERSPECTIVES PANEL 1 2pm | Centro Cultural São Paulo

PERFORMATIVE INSTALLATION OLHO NO OLHO: WHO CAN BE VISIBLE IN SÃO PAULO TODAY? 4;30pm to 6:30pm | Itaú Cultural

SEMINAR PUBLIC POLICIES FOR CULTURE: IDEOLOGICAL CONFRONTATIONS After the 7pm session | Teatro Cacilda Becker

CROSS-CULTURAL DIALOGUES WHAT TO DO WITH WHAT REMAINS

125

CRITICAL REGARDS AND EDUCATIONAL ACTIVITIES EDUCATIONAL ACTIVITIES

CRITICAL REGARDS

SPECIAL EVENTS

11am to 1pm | Oficina Cultural Oswald de Andrade

PERFORMING TALK WHAT I AM I WAS NOT BY MYSELF 9 MON

1:30pm to 3:30pm | Itaú Cultural

MEETING TRIBUTE TO FRANCISCO MEDEIROS 4pm to 6pm | Itaú Cultural

MASTERCLASS AGAINST THE POLITICAL THEATRE 7pm to 9pm | Itaú Cultural

PUBLIC INTERVIEW TIAGO RODRIGUES 10:30am to 1pm | Centro Cultural São Paulo

MEETING OF THEATRA AFFECTION WORKSHOP #SEQUERCOMBINA

10 TUE

11am to 1pm | Tusp

PANEL SELF WRITINGS: FEMINISM, PERFORMANCE AND POLITICS 2pm to 5pm | Centro Cultural São Paulo

MEETING OF THEATRA PANEL: TRANSITION PEDAGOGIES 5pm to 6pm | Centro Cultural São Paulo

MEETING OF THEATRA PERFORMANCE BREASTFEEDING ZEUS HARD PRICK MILK; BUMBLEBEE DOESN’T MAKE HONEY, BUT IT DOESN’T BREASTFEED EITHER 10am to 1pm| Centro Cultural São Paulo

MEETING OF THEATRA AFFECTION WORKSHOP #SEQUERCOMBINA 2pm to 3pm | Centro Cultural São Paulo

MEETING OF THEATRA THEATRA SKIT: GOTA TRAVA (THE LAST TRANS) 11 WED

3pm to 6pm | Centro Cultural São Paulo

MEETING OF THEATRA SARARÁ TRANS (BLACK TRANS) 5pm to 7pm | Itaú Cultural

DEBATE THE SPECTATOR AND THE SCENE READING After the 8pm session | Teatro Cacilda Becker

CROSS-CULTURAL DIALOGUES STABAT MATER After the 9pm session | Teatro Alfredo Mesquita

THOUGHT-IN-PROCESS MIDNIGHT 126

12 THU

10am to 1pm | Oficina Cultural Oswald de Andrade

ARTISTIC EXCHANGE HOW NOT TO KNOW TOGETHER: WHAT TO DO WITH WHAT REMAINS_IN SITU 8pm to 10pm | Itaú Cultural

PUBLIC INTERVIEW ANDRÉIA PIRES After the 9pm session | Teatro Faap

CROSS-CULTURAL DIALOGUES BY HEART 9am to 1pm | Companhia de Teatro Heliópolis

PERFORMANCE THE INVISIBLE CAGE

13 FRI

10:30am to 1:30pm | Sesc Vila Mariana

MASTERCLASS WRITING WITH THE SETTING 1:30pm to 3:30pm | Teatro Cacilda Becker

DISASSEMBLY OF STABAT MATER 4pm to 6pm | Teatro Cacilda Becker

DEBATE THE WOMEN’S BODY, ITS REPRESENTATIONS AND THE COURAGE OF TRUTH 2pm to 4pm | Itaú Cultural

14 SAT

SEMINAR CONTRADICTIONS IN THE DEBATE OF CULTURE AS A COMMON GOOD 5pm to 7pm | Itaú Cultural

SEMINAR DEMOCRACY IN FOCUS: CENSORSHIP MECHANISMS After the 7pm session | Centro Cultural São Paulo

THOUGHT-IN-PROCESS BURGERZ After the 7pm session | Centro Cultural São Paulo

CROSS-CULTURAL DIALOGUES WORSTWARD ON 2pm to 4pm | Centro Cultural São Paulo

15 SUN

SEMINAR CURATORSHIP AT THE CROSSROADS After the show | Teatro Cacilda Becker

THOUGHT-IN-PROCESS BETWEEN THE LINES 4:30pm to 6:30pm | Centro Cultural São Paulo

DEBATE CONTEMPORARY SCENE: CRITICAL PERSPECTIVES DEBATE 2 127

ÂŠ Tapumes Galerie Vallois, 2008 Henrique Oliveira