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ProAc - Programa de Ação Cultural do Governo do Estado de São Paulo - primeiras obras de dança  (2017).

Sem luz

funding

 

 

2018 | 40min

premiere at oficina cultural oswald de andrade

/

im partnership with

Teatro do fim do mundo

about

Two lost bodies inhabit a theater. Groundless, they need to find out what happened to them and to the world outside, which caused the darkness they find themselves in. And yet, they cannot see or hear anything. How to move? Gradually, arises the suspicion that all the land around it would be destroyed, perhaps due to a huge catastrophe. Are they also spectra? And to whom do they speak, if all other human beings have died? These bodies, however, are not those of the performers, but of extensive copper sticks handled by performers who are in the dark. These object-bodies seem at the same time to seek some kind of geometric composition and to achieve something that is not seen, like sound, and also like radiation. Rods, antenna, mobiles, branches are some of the images that open up and replace the body of the performers as a material to be seen on stage.

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photo: Mayra Azzi

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credits

Conception

Artur Kon

Direction/performance

Artur Kon

Renan Marcondes

Movement direction

Carolina Callegaro

Original Track

Sergio Abdalla

Collaboration

Andreia Yonashiro

Costume

Renatto Souza

Production

Mariana Otero

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research

Little known in Brazil, Elfriede Jelinek is one of the most important playwrights of today. Artur, who studies the Austrian author for his doctorate degree and has already participated as an actor and dramaturgist in two theater plays by Jelinek, Peça Esporte (2015) and Dramas de Princesas (2016), wanted to try new languages ​​with this unconventional dramaturgy that was triggering to the creation of SEM LUZ. He led the idea to the artists of Pérfida Iguana and started the creative phase.

We start from a refusal of the positive activity of the body as an unquestionable center of dance, seeking a threshold between life and death, movement and paralysis, corporeality and “spectrality”. The intention was that the body would disappear in the middle of the scene, so that the space itself would become more visible. In SEM LUZ the body is moved by something, a radiation that is in the air, and that it captures, that penetrates it and, in a limit, undoes it.

 

The protagonism, therefore, does not belong to the performers, but to the extensive copper batons manipulated by the artists on stage. We are very interested in the movement of these objects that we cannot control, the sounds and images that are created by them in the environment where the scene takes place.

The idea of ​​'end of the world', which is in the play as well as in the name of the collective, makes us think that this world is (still) alive, that the objects that inhabit it can resist our action on them, an action that every day seems to take us on the verge of collapse. Elfriede Jelinek's text also appears without being enacted theatrically but helping to create the images of that world after a great catastrophe. The scenery and costumes completely gray, dialoguing with a completely white light and the soundtrack composed of fragments of the text complete the elements of the montage.