Repertoire show opens the 45th anniversary celebrations of Ói Nóis Aqui Traveiz

As for the Repertory Show, which starts on March 6th, there are the shows MEDEIA, at Terreira da Tribo; Almost Bodies: Episode 1 – The Last Recording, in Sala Álvaro Moreyra; Disassembly Evoking the Dead – Poetics of Experience, at Teatro de Arena; Manifesto of a woman of theater, Carlos Carvalho at CCMC; Film Ubu Tropical, in Terreira da Tribo; Violeta Parra uma Atuadora!, which will be performed at Terreira da Tribo on March 31, the date that commemorates the debut of the group’s first show in 1978; and, finally, O Amargo Santo da Purificação, at Parque da Redenção, on April 2nd. The entire program has free admission.

PROGRAM / Show Ói Nóis Here Traveiz 45 years

March 6th, 13th and 20th, 8pm – MEDEIA, at Terreira da Tribo

March 10th, 11th and 12th, 8pm – Almost Bodies: Episode 1 – The Last Recording, at Sala Álvaro Moreyra

March 15th and 22nd, 8pm – Disassembly Evoking the dead – Poetics of experience, at Teatro de Arena

March 24th, 25th and 26th, 8pm – Manifesto of a woman of theater, Teatro Carlos Carvalho at CCMC

March 27th, 8pm – Ubu Tropical Film, at Terreira da Tribo

March 31st, 8pm – Violeta Parra an Actuator!, at Terreira da Tribo

April 2nd, 5pm – The Bitter Saint of Purification, at Parque da Redenção

Synopsis:

MEDEA, a solo by actress Tânia Farias, part of the production Medeia Vozes, inspired by the homonymous work by Christa Wolf, which is part of the repertoire of Tribo de Atuadores Ói Nóis Aqui Traveiz. In the text is the ancient and little-known version of the myth, featuring a woman who has committed none of the crimes she is accused of in Euripides’ version. For over two thousand years, Medea, one of the most powerful women in Greek mythology, has been accused of various atrocities, such as fratricide, infanticide and the poisoning of Glauce. The myth is questioned and reworked in an original way, in order to analyze the foundation of orders of power and how they are maintained or destroyed. Medea is a woman who is on the border between two value systems, embodied respectively by her homeland, and by the land to which she flees and sees her time and society as they are. The forces in power demonstrate against her, even to the point of persecution and banishment, she is a scapegoat in a society of victims.

‘Almost Bodies: Episode 1 – The Last Recording’ is a study of Samuel Beckett’s theater that reveals the fragmentation of the physical, psychic and social relationships. Topics such as loneliness, suffering, failure, anguish, the absurdity of the human condition and death are addressed based on language research and authorial work that the actors develop. The staging, a free version of the play Krapp’s Last Tape, shows a 69-year-old man confronting his past. The old man listens on an old tape recorder from 30 years ago. He hears his own voice narrate extinct aspirations, memories of lost loves, the death of his mother, the unconfirmed hope of literary commercial success. Memories of failures, decline and dissipation. Almost bodies is a collective performance, with performance by Paulo Flores, costumes and props by Tânia Farias, scenography by Eugênio Barboza and Tânia Farias, lighting by Clélio Cardoso and Lucas Gheller, sound design and Operation of light and sound by Roberto Corbo.

the disassembly ‘Evoking the Dead – Poetics of Experience’, conceived and performed by Tânia Farias, retraces the path of the actress in the creation of emblematic characters of contemporary dramaturgy. It constitutes a look at gender discussions, addressing violence against women in its variants, issues that came to occupy centrally the creative work of the Ói Nóis Aqui Traveiz group. By following the line of investigation into ritual theater of Artaudian origin and contemporary performance, Tânia Farias’ disassembly proposes a dive into a theatrical performance where the actor’s authorial work condenses a real act with a symbolic act, provoking experiences that dissolve the boundaries between art and life and at the same time enhance reflection and self-knowledge. The design and performance was by Tânia Farias and the lighting by Lucas Gheller.

‘Manifesto of a Woman of Theater’ part of the character Ofélia, from one of the most striking texts of contemporary dramaturgy, Hamlet Machine by Heiner Müller – a landmark in the career of actress Tânia Farias. The performance brings to the center of the arena the vociferation against the gear of violence to which women are continually subjected. Voices like Violeta Parra, Gioconda Belli and the actress herself, who dares to tell in detail her personal story of violence suffered and intersect with another real one, that of Magó, a ballerina barbarously raped and murdered in 2020, to which the actress pays homage. A political act against gender violence, a new stage in the construction of reflection by this theater woman at such a tragic moment, authorizing all kinds of barbarism against women, blacks, lgbtqia+ and everything that the conservatism of this backward elite considers a threat to his project of death, non-body and non-happiness.

The film Tropical Ubu uses the aesthetics of silent cinema bringing elements of comic comedy and the grotesque and part of the research on the character Pai Ubu, created at the end of the 19th century by the Frenchman Alfred Jarry, and iconic for the entire western theater, influencing the vanguards everywhere of the world. Through the critical eye of the character Jarry, the film tells the story of a “good family” who, on a sunny Sunday, goes for a walk in the park to watch a public display of brainlessness. The short film was collectively created by the Ói Nóis Aqui Traveiz Tribe of Actuators, featuring Tânia Farias (Alfred Jarry), Lucas Gheller (Carpenter), Keter Velho (Seamstress), Clélio Cardoso (Son) and Maria Inês Falcão (Daughter) as protagonists ), and more than 30 actors in the cast. The original music is by Johann Alex de Souza.

The musical scenic performance “Violeta Parra – An Actuator” stands in solidarity with the Chilean people at this time of struggle for better living conditions and presents a repertoire that mixes the Andean with Brazilian rhythms in the voice of the performer Tânia Farias and the guitarist and composer Mário Falcão. With this mestizo bias, the performance dresses the songs of this icon of South American art. Violeta Parra, a singer and guitarist since she was a child, researched rhythms, dances and popular songs, becoming the spearhead of the “nueva canción” movement that projected Chilean music in the world. Known in Brazil mainly for the compositions “Gracias a la Vida” and “Volver a los 17”, her legacy is invaluable for Latin American engaged music. Her story was told in 2011 in the film “Violeta went to Heaven”, by director Andrés Wood.

The collective staging The Holy Bitter of Purification tells the story of a popular hero, Carlos Marighela, who the ruling class tried to banish from the national scene for decades. In the sequence of scenes, the public watches important moments of this trajectory, from its origins in Bahia, its youth and poetry, the passages in the Estado Novo and its consequences with the hardening of the regime, resistance and imprisonment. Marighela’s life would reserve even more struggle for democracy, suffering the blow and all the consequences of a military dictatorship, where he lived in hiding, was present as a leader of the armed struggle, and, in the end, his tragic death in an ambush of the police. O Amargo Santo da Purificação rescues this story by seeking a human portrait of what Brazil was like in the 20th century.

PROGRAM / Show Ói Nóis Here Traveiz 45 years

March 6th, 13th and 20th, 8pm – MEDEIA, at Terreira da Tribo

March 10th, 11th and 12th, 8pm – Almost Bodies: Episode 1 – The Last Recording, at Sala Álvaro Moreyra

March 15th and 22nd, 8pm – Disassembly Evoking the dead – Poetics of experience, at Teatro de Arena

March 24th, 25th and 26th, 8pm – Manifesto of a woman of theater, Teatro Carlos Carvalho at CCMC

March 27th, 8pm – Ubu Tropical Film, at Terreira da Tribo

March 31st, 8pm – Violeta Parra an Actuator!, at Terreira da Tribo

April 2nd, 5pm – The Bitter Saint of Purification, at Parque da Redenção