The window shards boil in the sky of my mouth

Created a decade ago, S ಮತ್ತುo Paulo Collective A Digna, created by actor and playwright Victor Novova and actresses and producers Ana Vittoria Bella and Helena Cardoso, explores the relationship between artistic construction and public space, extending discussions on topics such as belonging to large metropolises.

Since then, the group has been proposing discussions on the acquisition of public spaces by the private sector, the intensive process of crossing large metropolises in the lives of their residents, the creation of social duplication in cities, and of course speed. Real estate speculation has fostered historical and social erasure in traditional neighborhoods.

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On their new romantic adventure, The window shards boil in the sky of my mouthThe collective promotes the intersection between all these debates by raising questions about another metropolitan theme: the Kulantari.

The play, which is presented in epic format, recounts the story of a group of residents of a high-end condominium in the center of Barra Funda, a traditional neighborhood in Sರಿo Paulo, Prairie, that has been facing the process over time. Erasing its identity in favor of building large conglomerates and high-cost residential condominiums.

Written by Victor Novova, theatricality is a classic structure with a focus on two different family dramas: dealing with a traumatized daughter’s suffocating mother and the perfect couple facing the inadequacy of a marriage union. Based on 20th-century classic realistic dramatics, Novova builds dialogues and dramas, drinking her characters from the tense and desperate drama of Tennessee Williams (1911-1983) that links the urban tragedies of Nelson’s daily life. Rodrigues (1912-1980).

On stage, Ana Vittoria Bella and Eliana Bolanho star in a family clash in the absurd register. The pair produce a beautiful game of visuals, emphasizing the historical despair of a traumatized woman, who can only develop a conversation with the camera while feeding an online channel about reincarnated babies, and a group of matriarchal dogs who spend the majority of their days craving children.

In another apartment, Helena Cardoso and Paulo Arcuri work in the same key, as they are motivated coaches and couples formed by an evangelical woman who is active in the financial market, and they face problems such as sex and customer relationships in a failed marriage.

Although the spectacle based on theatrical pillars is proposed, however The window shards boil in the sky of my mouth This is a much more complicated task than a family / marriage drama about a dysfunctional bourgeois life. Directed by Eliana Montero, the show takes on epic airtime by opening up the macro debate in the face of classic drama.

The directors propose a more holistic experience by placing the viewer as an active agent in the dramaturgy of the work. With the support of Senoritas Courier, a group of 12 app drivers and cyclists, the show develops an action-packed start to the viewer’s home, invaded by a series of items about the benefits of a new real estate launch located in a key area. Barra Funda.

By having the driver take the viewer home, the immersion gains new air when the work uses the entire route of the city as a stage with its own theatricality (for example, a crash-in-the-middle of the accident cast bicycleist, who ran in session with the portal).

This work paves the way for what the city has to offer before regaining control over epic orchestrated staging, to challenge the curatorial process, but how it relates to the continual uncertainty of the work of application drivers. Application distribution of cyclists.

Take on the role of non-actors with the participation of Okaro Rodriguez, The window shards boil in the sky of my mouth One of the most powerful performances of the company, the great metropolis and all that surrounds it, simply abandons theatrical subject to propose a fusion of theater.

Eliana Montero’s qualification, she guides her professional amateur character (expressively), who incorporates eloquent speeches that sound like a pamphlet scream in the wrong hands, but on the contrary, drinks from the original German Bertolt Brecht (1898) – 1956 in its urban epic Not only that – and most importantly – when it is proposed to entertain (welcome) the public to increase debate.

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