Odilon Esteves' solo was created during quarantine in a regime of physical isolation, and will be presented live on the Zoom platform until 31 January (with brief pause between 20/12 and 9/01). Viewers choose, throughout the session, by electronic poll, from the options prepared by the actor, the texts they would like to hear interpreted. Transmission is done actor's room for the spectator room
The project sponsored by Banco do Brasil follows the molds of a gastronomic event, offering the public a “literary menu” with entry, main course and dessert, represented by the author's tales and chronicles. Will be offered 15 options for five to be chosen and presented in sequence. The piece lasts for 60 to 90 minutes, varying according to the choices of the day.
Each round of the presentation, alternate the elements offered to the public to stimulate their choice: reading of small sections; presentation of synopsis; exhibition of objects related to texts, without the public even knowing your titles.
The selection criteria for the works followed an affective line “I first chose texts that cross me, that intrigued me, some that amuse me, many that move me, others who question me, some who put me in front of the mirror or on the edge of the unspeakable mystery. Then I had to give up many tales, because I wanted almost everything. My criteria was very broad, almost a lack of criterion. So I cut from the list, first, the most extensive tales that, alone, would already give a piece. But I realized that the selection was diverse, a kind of panorama of many of the facets of Clarice and I thought it was good. First, because her work is really multifaceted and has always come to me in different ways. And because we are all really vast, full of nuances and contradictions. And especially Clarice never shied away from trying to get to know them, of show-the, to dive into them. ”, Odilon account.
This interactive character allows the public to position themselves subjectively to the range of options offered to them, contributing to an intertwining of the common imagination of the spectators gathered in that session. A format that aims to bring the audience even closer to the scenic-literary event, involving them in its construction and considering each day as a unique path.
The purpose of this project is to present some of its texts in full, oralizing the written word in order to enhance its meeting with the public. A job that aims to be accessible and inviting, but without simplifications. The viewer will be provided with tools to access other layers of Clarice's work, virtually uncut in its original.
The application of the vocal actions method (by Constantin Stanislavski), that Odilon Esteves has been studying since 2002, brings the viewer closer to the text and images proposed by the author. The minimalism of the staging aims to focus on the essential, discarding everything that is superfluous in the scenery and costumes, or redundant and illustrative in movement and physical action, to give space to the viewer's imagination and play with it. Listening as a place of power.
| LECTURE SERIES |
In addition to the presentations, the project proposes a cycle of lectures on Clarice Lispector in the days 14 of december, 11 January and 25 January with approaches that deepen the reading and analysis of his work, taught by:
Nádia Battella Gotlib (14 of december) master, doctor and professor at the University of São Paulo, where did you work, since 1970, as a teacher and researcher in the areas of Portuguese Literature and Brazilian Literature. She is currently a collaborating professor in the Postgraduate Program of Comparative Studies of Portuguese Language Literatures.
Noemi Jaffe (11 January), it is writer, teacher and literary critic. PhD in Brazilian Literature from USP, teaches Creative Writing classes at Casa do Saber, in the Writer Training course at the Vera Cruz Institute and n'A Escrevedeira. She also works as a literary critic for the Folha de São Paulo newspaper.
Maria Homem (25 January) – graduated in Psychology from USP, with master's in Psychoanalysis and Aesthetics by International College of Philosophy and Paris VIII University, and PhD in Literary Theory and Comparative Literature from USP. Currently collaborates with PUC-SP and FAAP. Has experience in Psychoanalysis, Culture and Aesthetics, acting on the following subjects: psychoanalysis, literature, cinema and subjectivity.
Clarice in the eyes of the actor
“Clarice's writing has already reverberated in me in many ways. The first work I met was “The hour of the star”, in adolescence. And Macabéa hurt me, because I met several Macabéas in the north of Minas Gerais, where I was born. Because I love several Macabéas who took care of me as a child or worked for my family, and many died before I knew what to do for them.
How many times have the human contradictions in Clarice's texts invited me to face my own! How many times have I felt foreign, even in the city where I was born! I have pictures where I look sad, but in the memory I'm sure I was happy, despite not being smiling. In your books, I find worlds where I fit. And where do my friends fit, my family, and everyone I don't know.
Furthermore, your ordinary day to day has aura of mythical reality. Clarice had some contact, was read and admired by many of my idols: Chico Buarque, Fernanda Montenegro, Carlos Drummond de Andrade.
And along with his love for Recife, also has a strong relationship with Minas. The proximity to so many miners, deep admiration for Lúcio Cardoso, the friendship with Fernando Sabino, the letter in which it talks about “Great Sertão: Paths” Guimarães Rosa… In the chronicle “The advantages of being silly”, which is a standard against the culture of cunning, this disease of “take-advantage-at-all-and-at-any-cost” so recurring in Brazil, she describes the fool as the antithesis of the smart, and says there are places that make it easier to be silly, and Minas Gerais is an example of this. Anyway… I wanted to have been contemporary with her, but I was only born eleven months after his death. And yet, hugged to your books, I went through the pandemic with Clarice. ”
| CCBB, CENTENARY OF CLARICE and ONLINE THEATER |
The CCBB started Clarice's centennial celebrations in March 2020 with the debut, in Rio de Janeiro, do musical “THE STAR TIME – The Corner of Macabéa”, starring Laila Garin. A week later, the season had to be suspended due to physical isolation. Not to take a break from this very important celebration, IN THE ROOM WITH CLARICE arrives for a celebration via streaming.
“The CCBB has always promoted new formats, know the importance of this. As a spectator and frequenter of this space I saw the renovation happen many times. Furthermore, the celebration of the centenary of Clarice Lispector could not stop. “IN THE ROOM WITH CLARICE” continues the party started with “THE MACABÉA CORNER” and, according to the CCBB itself, this musical returns to the scene in 2021, when sanitary conditions permit ”, comments Odilon.
Currently the 4 CCBBs reopened, but still offering digital programming, as a way of allowing people a cultural alternative to face-to-face events.
| SYNOPSIS |
IN THE ROOM WITH CLARICE – online literary play, in celebration of Clarice Lispector's centenary, where the public chooses, from a menu of texts by the author, which I would like to hear in that session. Works that compose an overview of its multiple facets, including narratives in which we can perceive Clarice herself at different stages of life.
| FACTSHEET |
|Texts: Clarice Lispector. Conception and performance: Odilon Esteves. Co-direction and art direction: Fernando badharó. Soundtrack: Noisemaker. Lighting:Lucas Pradino. Libras Interpreter: Marcella Alves de Sousa. Executive Production: Ricelli Piva. Production Director: Juliana Sevaybricker. Production: Agentz Productions|
|Duration: from 60 to 90 minutes (depending on the audience's choices)|
|Age rating: 12 years|
|Free tickets on the website: www.sympla.com.br/nasalacomclarice|
|Stocking: 995 people|