Teatro Oficina do Multipalco is the new temple for the arts in Porto Alegre
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A new temple for the performing arts opens its doors in Porto Alegre this Monday. This is the Teatro Oficina do Multipalco Eva Sopher (Riachuelo, 1089), which until March 31 will host a special artistic program, followed by the season of the show Waiting for Godot, which takes place every weekend in April. The inauguration ceremony of the space takes place at 6 pm, in a closed event for guests, preceded by a guided tour of the cultural complex.
With the completion of works funded from R$ 7.5 million injected by the Avançar na Cultura Project of the state government, the Multipalco also now has other structures: a set of dressing rooms, with bathrooms and showers, including for people with special needs; a multipurpose room for courses and other activities; a dance room and a circus room, both designed for practical classes, rehearsals and creation of works. “All scenic spaces have flexible floors – with small rubbers between the concrete and the floor, as if they were springs”, highlights the president of Fundação Theatro São Pedro (TSP), Antônio Hohlfeldt.
With the exception of Monday’s schedule, the rest of the artistic attractions that celebrate the new space have tickets for sale on the Theatro São Pedro website. Named Festival Teatro Oficina, the series of presentations will feature the show Macbeth in Pop: Urban Wars! (at 19h this Tuesday); Soiree at Solar Especial with recital by blues pianist Luciano Leães (Wednesday at 6 pm); the book launch KNIVESorganized by Alfredo Aquino, and the vernissage of the exhibition Border, with photographs by Elis Vasconcellos (both at 6 pm on Thursdays); and the show Songs that Nacen del Caminowith Martim César and Oscar Massita, from Duo Copla Alta (Thursday at 7 pm).
An alternative space, with capacity for 120 spectators and three different types of compositions for the audience, Teatro Oficina is also the venue for the premiere of the new play by director Luciano Alabarse, Waiting for Godot, staged only by women. Samuel Becket’s classic, the text is considered one of the pillars of the Theater of the Absurd and the main work of the Irish playwright. “Becket is always a challenge, he is one of the essential authors of contemporary theater”, evaluates Alabarse. “I’ve seen countless versions of this play, which in my eyes is one of the most important of the 20th century; and I read the text several times before giving it my eye.”
After intense research and months of rehearsals, the director responsible for adapting the show highlights the value of the female team that takes the stage. “The actresses – all very experienced – collaborated on the final version,” says Alabarse. He comments that the idea of making the montage came from actress Sandra Dani, his personal friend and with whom he has worked many times. In addition to Sandra (in the role of Estragon), actresses Janaína Pellizon (Vladimir), Arlete Cunha (Pozzo), Lisiane Medeiros (Lucky) and Valquíria Cardoso (Boy) are on stage. Divided into two acts, the play opens on March 31st and runs from Fridays to Sundays, always at 7pm, until April 30th. 00 (half price) to R$ 40.00 (full ticket).
Waiting for Godot, as it should be, ends up being Beckett’s best-known work. Its premiere took place in Paris, in 1953, the same year of Alabarse’s birth. “It is a pleasure to work with an author who is not easy, who has a great load of information. We studied a lot to arrive at a result that is not a mere repetition of rubrics already given”, points out the director. “I took the freedom that the author himself gave himself, when he started to direct his plays, to make scenic insertions in our montage – which, by the way, is very artisanal”, he reveals.
Immersed in a desert region, crossed by an abandoned road, the characters reveal their needs and agonies. With no relevant events or prospects for change, they dedicate themselves to spending time waiting for Godot, who nobody knows exactly who he is, and who successively postpones the meeting. In addition to the cast’s performance, which is the director’s main bet, the show’s setting should draw attention to an increasingly topical theme, which is the state of the planet after years of neglect and pollution.
“The scenario is desert, but not aseptic. Considering the polluted waters of rivers and seas, tons of toxic waste plagued nature, deserts transformed into deposits of waste and debris, the dirt that surrounds us is present there”, summarizes Alabarse, who is also responsible for the set design and research for the show’s soundtrack. The play also features costumes by Zé Adão Barbosa, direction assistance and body preparation by Ângela Spiazzi, lighting by Maurício Moura and João Fraga and production by Jaques Machado.
Surrounded by garbage and living in this desert, the characters of Waiting for Godot they communicate with short sentences, promote countless moments of silence, and “play” with time while waiting for a salvation for their “infernal” lives. In addition to them, the audience will also perceive the “presence” of (analog) voices, which, according to Alabarse, are a reference to the victims of genocides and wars present in the history of humanity. “Everything about this show is very sophisticated, nothing is obvious. It’s like an onion, with many layers, always with meaning. But when you get to the middle, there’s nothing. That’s Becket.”
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