Ask is based in triad fiction and reality / memory and oblivion / tolerance and intolerance
Day 6 May 2017, Saturday, at 9:00 pm, Premiere at SP drama school (Franklin Roosevelt Square, 210 – Consolation, São Paulo) the show How many Seconds it lasts a cloud of dust, of Cla art Gross, directed by Roberto Audio, that divides the dramaturgy with Angela Ribeiro, Ana Pereira and Washington Calegari. This show was supported by the PROACTIVE BUSINESS 2016.
In scene, a group of nine friends who review after 10 years. Are in the Galapagos Islands. Or not. Maybe they're staging a piece of friends reunited in the archipelago. But that deal with? Among the dailies surrounded by memories, good and bad, emerge revelations, statements, anguish, envy and sorrow.
From a game of memory, invention and forgetfulness, the actors recreate with the audience different moments of the past, for, in this, experience a joint experience, a new record of collective memories, real or fictional.
Based on testimonies collected between the actors themselves Gross and the Cia obtained in the project Cartographies of oblivion, the piece seeks to do touch on individual and collective experiences of memory and oblivion. The reconstruction of memories is based on relationships between personal experiences and the social-political context from vital questions in a society in which flourish the intolerance and the disagreement. What is put to the public, What is it fiction and what is reality? How much the affection (and miss him) We can rescue, Despite differences?
An earthquake opens a crack in the Earth and divides a whole country on two sides. In several ways. Because of that, a group of friends part for the Galapagos Islands, place where Darwin began his studies on the theory of evolution of species, in order to recreate and preserve individual and collective experiences of memory and forgetfulness, within the intersection between fiction and reality. When dealing with the behavior of animals, draw a parallel with their own fragile relations and realize how much are shrinking because they left something very important to be forgotten: the affection.
What's real / What is fiction
The dust can be the emblem of a treacherous memory, Unable to preserve, eclipsed between particles of oblivion. This natural principle of transformation of memory has been the Foundation for the development of the theatrical game of the show.
Design of the work
The Cla. Art brute understands memory as active force, in permanent transformation. All that matters should be kept: the photos, passwords, the phone numbers, the names, the dates, the faces, the little lies, the traumas, the historical facts, political demonstrations, the loves, the epiphanies, the frustrations and the sensations that we awaken feelings striking, and that form a subjective inventory than we are. Thus, the Act of remembering is revealed not only a survival mechanism, as a quest for immortality.
However, What interferes with the rescue process or memory preservation is revealed, in view of this work, as clouds of dust. Particles of disagreements, loaded with prejudices, desamor, intolerances and forgetfulness that accumulate, Dim vision and prevent you from seeing what's beyond, forward, or what came before us. From this perspective, the Group appropriates everyday conflicts such as fine line between the memory of what unites us and the oblivion we aparta, between that brings and what amesquinha us, between what makes us more human and inhuman both.
This way, the cloud of dust carries the weight of the reprehensible attitudes, they make unrecognizable to ourselves that open cracks that separate us on the same soil, under one sky. Can evoke shivering and open spaces for conduct that, under clear skies, without dust, We wouldn't want to remember or play. In this debate, inevitable questions hatch: How long until your throat if release to say that hasn't been said? How long until the cloud scatter and vislumbremos the understanding with the other? How long until the Islands that are, as individuals, If you recognize them as an archipelago, with its borders flooded, but together in the depths of the ocean? How long until we learn how to deal with the shocks of our plate tectonics?
On the other hand, the dust can be the emblem of a treacherous memory, Unable to preserve, eclipsed between particles of oblivion. Thus, the process of rescue and reconstruction of memories generates distortion and loss of original information about what really happened. This natural principle of transformation of memory was the Foundation for the development of the theatrical game proposed in the show.
In the rescue of memories experienced by the Group, the theatrical game highlights the multiple possibilities on the same memory. To highlight different elements and even distort them, the actors, along with the public, generate a new structure, a new memory, that does not necessarily correspond to the ancient reality.
What's real / What is fiction
The Group appropriates everyday conflicts such as fine line between the memory of what unites us and the oblivion we aparta.
Scenario, Costumes, Lighting and Music
The proposal of scenography suggests an open space installation anywhere in the world. A camp that can happen on an island, a devastated territory, in a town in eruption, in a forest or in a busy theater. It is through this structure that the actors/characters, nomads of time/space, transiting between different experiences of reality and fiction.
The initial idea of costumes, follows the same line of reasoning of the scenario, representing the real moment, was a fictional fantastic memory between man and the animal.
The lighting part of the real atmosphere that transitions the State of delirium and the rawness of the excess of lucidity, generating disruption in time and space and oscillating atmosphere between dream and reality.
And finally, the music, that in addition to bringing the nostalgia of memories experienced, will serve as impetus for a musical reenactment. Forming a set of sound experiences, sometimes superimposed, the trail will serve as support for different levels of body and unusual dance scores that aim to rescue the old memories of experiences lived and shared, celebrate something desired, or try to forget, as a catharsis, something that needs to be sprayed.
An island is, by definition, an extension of the relief, something that emerges from a deep depression and surrounded by water. Something that emerges. A set of Islands is called an archipelago. Archipelago is a set of reliefs, emergency of deep depressions, surrounded by water. Water everywhere. An island is a Division, a visible rift between her and the continent and populated by sea. Each individual is an island. An extension of relief, emerged from a deep depression. An archipelago is a gathering of individuals. Individuals filled with water, on all sides. With its borders drowned, submerged points of contact, your connections. NET links. Nothing is palpable. The intangibility that leads to intolerance. The attempt to build bridges, Although made of dead bodies, of bones, of fossils, of dead animals, of involuções. Bridges built on a fragile territory. An island can also be, a lack of contact and an excess of touch with yourself. (excerpt from the play)
The Director Roberto Audio
The actor and Director Roberto Audio is formed by CPT (Theatrical Research Center) and at FAAP (Fundação Armando Alvares Penteado) in Visual Arts. In The CPT, under the direction of Antunes Filho, worked as an actor for five years. From 1998 to 2015, He was a member of the theatre of Vertigo. In both companies, participated in various shows and also national and international festivals. I have also worked with other directors, between them, Franz Castorf (Volksbünne-Berlin/Germany), Chauhan Forjás, etc. Since 2008 He is also Director of gross Art Company. At the movies, acted in the following productions: "Ebb tide", Daniela Thomas; "Linha de Passe", by Walter Salles;, "Carandiru", by Hector Babenco; "Xingu" by Cao Hamburger; "Riocorrente" and "the eye and the knife", by Paulo Sacramento; "Heatstroke", by Felipe Hirsch; "Magnate", of Jhonny Araújo; "The King.", by Daniel Rezende; "Garbage Mouth", Flavio Frederico; "Bruna", Marcus Baldini; André restô Pellenz, "Nina" and "drained", Hector Dahlia, etc.
Historical – CLA. Art gross
The Cla. Art is gross of creation and research, interested in investigating new theatrical languages and other artistic expressions, How to dance, the cinema, the performance and the fine arts.
In 2007, directed by Roberto Audio, the Group presents El Truco, freely inspired in A Midsummer night's dream, by William Shakespeare.
In 2009, Roberto Audio runs the Cia. In gross Cine Belvedere, show created from the research of the dreamlike universe and the universe a few film directors, as David Lynch, Alejandro Jodorowsky and Tim Burton. This itinerant work was carried out during a year in House Belvedere.
In 2010, the Group features the scenic experiment Reserved Seat, which results, in 2012, in the show Work machine, created from the study of the theories of psychologist Skinner and Frederich a Rejoinder human conditioning. Between 2012 and 2015, the show, also directed by Roberto Audio, He served in several theatres of the capital seasons: Parlapatões Space, SUDS, Cacilda Becker Theater, Martins Penna Hall Theatre, Flávio Empire Theatre, Teatro Arthur Azevedo Theatre and Paul Eiro. Work machine also participated in theatre festivals of Araçatuba/SP, Bauru/SP, Itajaí / SC, Presidente Prudente/SP and São José dos Campos/SP.
In 2013, the CLA. Gross initiates two new research, run by two actors of the company. The two works, Small- Bourgeois: Rhapsody in two parts and Photosensitive, debuted in 2014.
In 2015, under the direction of Roberto Audio, the CLA. Art gross performs scenic intervention Cartography of oblivion, in which small walking facilities are home to the Group of performers who walk around town, conducting individual and collective interventions. The work was presented at the Virada Cultural, in Satyrianas, SESC Interlagos and in the cities of Itajaí/SC and Presidente Prudente/SP. In the same year, the Group features the scenic experiment Or Anywhere, as part of the process of creating the show How many Seconds it lasts A cloud of dust.
Minibios of the actors
Actress and playwright, formed in Letters from USP. The CLA art Gross since your training, acted in shows Dressing the body with thorns, directed by Alberto Guzik, El Truco and Cine Belvedere and on urban intervention Cartography of oblivion directed by Roberto Audio – and Small-Bourgeois, Rhapsody in two parts, under the direction of Paul Maeda. Is a producer of the show Work machine, from the same company. Currently integrates the Dramaturgy of the Sesi. Is one of the playwrights of the show How many Seconds it lasts A cloud of dust.
Ana Lucia Fareed
With the CLA art Gross, acted in shows Give machine Certthe, Cine Belvedere, El Truco, Reserved seat and on urban intervention Cartography of oblivion, all directed by Roberto Audio and also Small-Bourgeois, Rhapsody in two parts, directed by Paul Maeda and still in Dressing the body with thorns and Taylor Street 214, Experimental core of Satyros, directed by Alberto Guzik.
Publicist, actress and playwright. Formed by the USP School of dramatic art and dramaturgy by SESI British Council. Currently your text Reflux is playing on the mezzanine of the Sesi, in São Paulo, under the direction of Eric Laenas. The theatre was directed by Georgette Fadel, Beth Dorgan, Mirian Rinaldi, Rodolfo Vasquez, Rogerio Toscano, Luis Damasceno, Jose Fernando Azevedo and Roberto Audio among others. He served in every performance of the Cia. Art gross. Is one of the playwrights of the show How many Seconds it lasts A cloud of dust.
Fabiana of Prague
The CLA art Gross, He served in Cine Belvedere and El Truco and on urban intervention Cartography of oblivion, all directed by Roberto Audio. He served us still shows Dressing the body with thorns and Taylor Street 214, Experimental core of Satyros, directed by Alberto Guzik.
With the CLA art Gross, acted in shows Give machine Certthe, Cine Belvedere, El Truco, Reserved seat and on urban intervention Cartography of oblivion directed by Roberto Audio. He served also in Divine Words, directed by Rodolfo Gárcia Vásquez; School of tyrants and Evil Said, directed by Reni Araújo, of Cla. Ritual Opera.
In the theatre he worked in After all, Frames and Just Between Us, directed by Flávio Faustinoni. He also worked with the theatre of Vertigo in the show Br3 and on the show Hipsters, produced for MTV and Band.
In addition to participating in all the shows gross Art CLA, acted in the movies The Friends, Lina Chamie – for which she was nominated for best supporting actress at the Festival de Gramado; There Is Only One Mother, Anna Muylaert; Body Electric, of Marcelo Caetano; Running Behind, of Anne; and in the series 3%, produced by Netflix.
Actor, formed by the School Theatre Macunaíma. The CLA art Gross since your Foundation, acted in shows Dressing the body with thorns, El Truco, Cine Belvedere and Work machine, Besides the urban intervention Cartography of oblivion. Participated as an actor in the Teatro Municipal de São Paulo 2013 to 2015. He is currently a member of the choir of the House of roses.
Actor and journalist, graduated from the school of communications and arts of the University of São Paulo. Debuted at the show Chico in the works, Experimental core of Satyros, under the direction of Nora Toledo. The CLA art Gross since your Foundation, He served in Dressing the body with thorns, El Truco, Cine Belvedere and Work machine, Besides the urban intervention Cartography of oblivion. Is one of the playwrights of the show How many Seconds it lasts A cloud of dust.
Design and Direction: Roberto Audio
Dramaturgy: Angela Ribeiro, Ana Pereira, Roberto Audio and Washington Calegari
List (Actors and characters):
Ana Lucia Fareed – Fernandina Romualdo
Ana Pereira – Floreana Goicochea
Angela Ribeiro – Genoese of Prague
Fabiana of Prague – Daphne Salgado
Marba Goicochea – Marchena Calegari
Rodolfo Mathur – Christopher Pereira
Teka Romualdo – Isabela Ribeiro
Wanderley Salgado – Bartholomé Fareed
Washington Calegari – Santiago Mathur
Direction of movement: Fabiano Benigno
Costumes: Rosângela Ribeiro
Scenography: CLA. Art gross
Lighting: Paul Maeda
Sound: Érico Theobaldo
Production: Rudolph Matthews and company. Art gross
Graphic Design: Angela Ribeiro
|How many Seconds it lasts a cloud of dust|
|SP School of Theatre|
|Franklin Roosevelt Square, 210 – Consolation|
|Season of 06 May the 26 June 2017|
|Saturdays, at 9:00 pm; Sundays, at 8:0 pm; Mondays, at 9:00 pm|
|Duration: 90 minutes|
|Recommendation: 14 years|
|Tickets: R$ 20|
Capacity: 60 places