Stereo Franz, 2013-
The audience is welcomed outside of a bar in a small town like any other. Inside, a band plays throughout the night. On the outside and on the inside, the residents perform their duties. More and more. Always more. All around the music is nonstopping and images are projected, creating more and more reading layers. On one side, Franz is harassed by the Doctor. On the other, Franz is observed by the Captain. Inside Franz there’s room for few: a friend and a lover. One doesn’t hear him, the other doesn’t see him. His friend only listens to what gets in his ears through music. His lover sees only what the psychic Yvette enunciates in spanish: Tiene Ojos, Marie! Marie never stops. She wants more and more. Always more. Marie wants to speak other languages. Franz can’t stand his own tongue. The foreign tongue will be capable of generating disorder and cutting through everything that never made sense: the explanations of men for all that does not make sense in any language.
The play premiered in Giessen, Germany, at the Festival Büchner International, in 2013. In 2014, it integrated Festival Mirada at SESC-Santos. In São Paulo, it stayed at SESC Santo Amaro from january through february of 2015. The work has won the Myriam Muniz Award in order to perform its national tour in 2016.
Episode 3: The face of the country in debt
After the great catastrophe, a ship-territory approaches the devastated country and astablishes a joint reconstruction regime. The Reconstruction is welcomed with euphoria and enthusiasm while vertiginously increasing the nation’s public debt, leaving a trail of death and a permanently indebted subjective state. Five performers mobilize texts, images and historic videos to present a brief analysis of the progressist neoliberal processes in their countries.
The episode was built in a partnership between the Brazilian group [pH2]: estado de teatro and the Mexican group Lagartijas Tiradas al Sol. Funded by Rumos Itaú Cultural.
A net is being woven. While Clytemnestra waits for Orestes’ return, Agamemnon conducts the final preparations for Iphigenia’s wedding. Immerse in a cycle of murder and vengeance, the characters celebrate, evoke, curse the past, unaware of the fate that awaits them. When at last the expected son returns, a new order is installed.
The group developed an original dramaturgy in 2010, written from the group’s research of the greek myth of the Oresteia. The homonymous trilogy by Aeschylus was the source to conclude the group’s research on the manifestations of the tragic in the contemporary world. The play premiered at SESC Pinheiros in 2012 and had a season at Cit-Ecum in 2013. Funded by Lei de Fomento ao Teatro.