Theater
Casa da Arte, where art is created and produced.
The headquarters of Casa da Arte Multi Meios is located in a privileged location, surrounded by a large green area.
The installations at Casa da Arte allow for the deployment of its use, taking into account the multiple artistic needs that complete its field of action: theater, visual arts, and digital media.
The space houses an area for rehearsals and presentations, a plastic arts workshop, a mask laboratory, and scenographic research, a computerized office, and a library.
composed of the most varied titles and authors from universal theatre, social sciences, computer graphics, history, philosophy, and the arts.
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The space was built according to specific technical needs for artistic creation, seeking to use as much natural energy as possible, thus enabling lower maintenance costs. The project by architect Antonio Carlos Bomfim Mattioli creates a suitable environment for rehearsals and for the entire process of creating and producing theatrical shows, in addition to offering the possibility of presentations for a restricted audience, workshops, and exhibitions.
By interacting with the city and overcoming difficulties, we seek to interfere in issues that go beyond the borders of Ribeirão Preto. What is the relationship between human beings and art today? What is your current connection with the theater? Do you feel the need to reflect on your life when watching/participating in a theatrical work? Are you aware of going to a show to be an active spectator, who discusses society and makes fun of this act? The answer Out of the box is strong: act.
The mix of artistic languages, the space for creation and the positioning of the artist/actor, and the pioneer spirit in firming up work in the interior of the state of São Paulo with vigor and talent are the hallmarks that distinguish the artistic language of this Group that research contemporary gestures through the study of:
Voice and movement integrated into physical action;
Making and use of the Theatrical Mask;
Commedia Dell'Arte;
Visual-theatrical dialogue;
Musical-theater dialogue.
Casa da Arte, is a space to create.
Fora do sériO
Grupo Fora do sériO was founded in 1988 and has been headquartered in Ribeirão Preto since 1991.
When he arrived in the city, he set up his first headquarters in the historic
Diederichsen Building occupied its top floor where it remained for 10 years.
On his curriculum are the montages "Arlecchino" (88), "Not here, Pantaleon!" (89),
"The Key and the Lock" (88 to 94) "Mystery Bufo" (92), "A Commedia Dell'Arte" (92), "The Ass" (94), (99), (08), "The Tabby Cat and the Swallow" (95), "Arlequim's Misadventures" (99), "Helênica" (99), "Story of a Little Boat" (99), (02), " O Casamento do Capitão Cagapau" (01), "Where There Is No Enemy It Is Urgent to Create One" (02), "Auto da Barca do Inferno" (02), "The Island of Dr. Moreau" (04), " Private Thing" (07), "King of the Word" (11), "Dom Casmurro" (12), "tools from the broken house" (18),
"The Nose" (22), the realization of the I and II Brazilian Group Theater Meeting,
the edition of the magazine "Máscara" (91/93),
the production of the documentary "Journey to the World of the Mask" (97),
exhibitions of the masks made in his laboratory (01/00),
various courses taught in several cities in the State of São Paulo,
participation in national and international seminars and festivals.
In 2003 the group was nominated for the 16th Shell Theater Award for the show “Auto da Barca do Inferno”, which was performed in 45 cities for approximately 50,000 spectators. Since the beginning of the group, more than 400,000 spectators in 12 Brazilian states have attended one of the 20 shows staged by Fora do sériO.
The work Fora do sériO is strengthened mainly by the study of Commedia Dell'Arte, a popular theatrical movement that revolutionized the actor's way of interpreting, using masks, acrobatics, dance, music, juggling, interaction with the spectator, and which introduced the first time in the history of theater the woman on stage. Expanding these qualities is today's base: the Group seeks to mix languages and has experiences in the most varied spaces, stage, arena theater, street, alternative spaces, seeking expression and contemporary communication.
Fora do sério, in its 29 years of existence, has raised the highest regard from the public and reputable critics for the quality of its productions.
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Arlecchino (1988)
This is Fora do sério's debut work at UNICAMP. Here was born the group's will to develop a theater focused on the use of the mask. The show drew the most favorable reviews and even today it is remembered by all who watched it.
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Arlecchino
by Dario Fo
Cast:
Ana Célia Padovan, Joca Andreassi,
Gustavo Trestini, Augusto Marin,
Gusto Albanez, Jayme Paez, Simoni Boer,
Miriam Fontana, Kátia Bellomo.
Translation and Adaptation:
Sara Lopes
Direction:
Neyde Veneziano
Circus Techniques:
Monteiro Junior
Techniques with Masks:
Bete Lopes
Sets and Costumes:
Márcio Tadeu
Dressmaker:
Dalvina Rodrigues
Masks and Props:
Helô Cardoso
Foam work:
Mario Ricardo
Photos:
Renato Testa
"Arlecchino", by Dari Fo, is a four-frame comedy in which one of the strong features of the Harlequin character appears in each of them. Sometimes miserable, sometimes playful, storyteller, liar and sensual, fearful and versatile, together, these marks form the essence of the most theatrical character that has ever existed. Dario Fo looked for the origin of the 16th century Commedia Dell'Arte, close to the comic bass, the theatrical strength of street shows, and direct communication with the spectator.
The Key and the Lock (1988)
This hilarious theatrical picture rescues characters from Commedia Dell'Arte, aesthetics born in Renaissance Italy, and from eminently popular communication. The characters of the story, Arlecchino, and Franceschina, immortalized in time by their masks, are known in Brazil through Carnival by the figure of Arlequin and Columbine.
Dario Fo, a brilliant contemporary and Italian author, recovers the original malice of the characters, and through the figures of a key and a lock, he makes a comic parallel transforming the game into a game of seduction.
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The Key and the Lock
by Dario Fo
Cast:
Miriam Fontana and Gusto Albanez
Direction:
Neyde Veneziano
Realization:
Fora do sériO
Not here, Pantaleon! (1989)
This work premiered in Campinas and was the first presentation that Ribeirão Preto saw of Grupo Fora do sériO, at the Cândido Portinari Cultural Workshop.
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Not here, Pantaleon!
collective creation
Cast:
Joca Andreassi, Gustavo Trestini,
Gusto Albanez, Isabela Graeff,
Jayme Paez, Simoni Boer, Miriam Fontana.
Direction:
Collective
Creation and Conception:
Fora do sériO
It just can't rain! Clear sky, people in the street, and the show "Not here, Pantaleon!" can start, with the sound of accordion, tambourine, and a parade with wooden legs, juggling, and acrobatics.
In the circle of spectators are the unsuspecting of the squares, housewives, those in a hurry who take a peek, people who mix with the characters, guard, priest, thief, and actors from an Italian company, which refers the staging to the aesthetics of Commedia Dell'Arte.
Buffoon Mystery (1992)
This show marks the debut of visual artist Jair Correia as Visual Conceptualizer of Fora do sériO. From here, all jobs will have their share in the final result of each job.
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Buffoon Mystery
street theater show
Collective creation of Grupo Fora do sériO,
Based on the screenplay of the same name by Mayakovsky
Cast:
Gustavo Trestini, Gusto Albanez,
Isabela Graeff, Jayme Paez, Joca Andreassi,
Miriam Fontana, Simoni Boer.
Costume and props:
Jair Correia and Grupo Fora do sério
Visual programming:
Jair Correia
Photos:
Rubens Salles Guerra and Renato Testa
Secretary:
Elo de Oliveira
Costume making:
Bia Costa Antonieta Marto
General Production:
Grupo Fora do sériO
Browse, browse...
Yes, no refusal...
Although there has been a re-elaboration of the content of Maiakoviski's script, the original structure allowed reflection on the contemporary game of forces.
Communism, the dream of 80 years ago, fell like a wall, and capitalism unfortunately still conditions the freedom of the majority of the population to the interests of a few.
Mistério Bufo is a theatrical response to these concerns.
Shall we go to the New World?
The desire for happiness cannot be less than the fear of experience. Any change depends on reflection, awareness, and action. And for the trip to the New World, collective action.
Nobody claims that the New World can exist, but it is fundamental to create common principles, to set out on a path to solve this country's hunger,
hunger for bread and art.
The Commedia Dell'Arte (1992)
This unforgettable event brought together theater, visual arts, and gastronomy. The actors experienced performances based on lazzi by Commedia Dell'Arte, graffiti by Jair Correia, and masks made by Joca Andreassi.
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The Commedia Dell'Arte
performances
with
Gusto Albanez, Isabella Graeff,
Joca Andreassi, Miriam Fontana
masks
Joca Andreassi
graffiti
Jair Correia
Undoubtedly Ribeirão Preto does not know of an event with so much artistic convergence
like the one that is idealized and proposed here.
Remaining uninterruptedly a source of inspiration for countless artists since the Italian Renaissance, Commedia Dell'Arte is the focus of attention in the theatrical works of Grupo Fora do sériO, the leather masks by Joca Andreassi and the graffitied sidings by the plastic artist Jair Correia. In the same event, the privileged spectator will be able to enjoy the forces of the exhibition of these artistic expressions, individually beautiful and charmingly provocative within the conception of the set.
The Donkey (1994)
"The Donkey", by the writer Dario Fo, Nobel Prize for Literature in 97, is a hilarious text about the fun adventure of one of the most remarkable characters in the history of the theater: Arlecchino.
In "The Donkey", an adaptation of Fora do sériO for the street, a Company of Actors from Commedia Dell'Arte arrives to tell the story of Arlecchino, constantly deceived by his friends, Razzulo and Scaracco, and his confusions to prove to his girlfriend his virility.
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The Donkey
Free adaptation of a text by Dario Fo
translation by Neyde Veneziano and Sarah Lopes
Cast:
Gusto Albanez, Miriam Fontana,
Isabela Graeff, Júlio Cesar Santos,
Jefferson Coimbra, André Cruz, Sandra Corradini
Visual Programming and Props:
Jair Correia
Masks and Props:
Joca Andreassi and Andre Cruz
Body Preparation:
Sandra Corradini
Vocal Preparation:
Miriam Fontana
Circus Techniques:
Isabela Graeff
Press office:
Nanete Neves
Photography:
Rubens Salles Guerra
Amilton Forcinetti
Executive Producer (RP):
Erica Santos
Executive Producer (SP):
Fernanda Signorini
Marcia Salgado
Direction:
Gusto Albanez
General direction:
Grupo Fora do sériO
The Tabby Cat and the Swallow Sinha (1995)
The Tabby Cat and the Swallow Sinha was the show that reached the largest audience for children in the city of Ribeirão Preto thanks to the Ribeirão Preto Peace Program, performing in schools and in all theaters in the city for a contingent of more than 25 thousand students.
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The Tabby Cat and the Swallow Sinha
from the work of Jorge Amado
Cast:
Miriam Fontana and Gusto Albanez
Visual Conception, Dolls and Masks:
Jair Correia
Songs:
Jean Hotteterre, Zequinha de Abreu and Gusto Albanez
Production:
Jair Correia
Seamstresses:
Antonieta Marro, Cida Vieira and Ester Mian
Direction:
Miriam Fontana
The story of The Tabby Cat and the Swallow Sinha is a beautiful love story that Wind told in Morning and, as they say, with ulterior motives. In the old days, in a park where many animals lived, behold, the Tabby Cat, feared by all, decided to fall in love. And by whom? For the most graceful swallow of the place, Swallow Sinhá.
Impossible love? Or, a feline trick to "lunch the Swallow? Rumors and whispers of all kinds were not lacking, but how to condemn such happy hours of conversation,
walks, and games? It is true that such a marriage is a revolution,
such a turnaround, a God helps us...
If the Cat and Swallow were together, now we cannot reveal.
It is a secret reserved for the end of the show.
Hellenic (1999)
Hellenic performed in all the theaters of Ribeirão Preto and had a successful career during her season in São Paulo at the Centro Cultural São Paulo.
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Hellenic
Extracted from the book by Silvia Jacintho
Cast:
Miriam Fontana, Érica Rossi, Vânia Lucas
Scenography and Visual Conception:
Jair Correia
Original Music and Musical Direction:
Mario Feres
Body Preparation:
Erica Rossi
Vocal Preparation:
Vânia Lucas
Costumes:
Luciano Perin
Lighting:
Miriam Fontana and Erica Rossi
Photography:
Rubens Salles Guerra
Amilton Forcinetti
Makeup:
Mariah Garcia
Props, Scenotechnics, and Mask:
Jair Correia
Paintings:
Jair Correia and Geraldo Lara
Scenotechnics Assistants:
Narlo Rodrigues and Andre Cruz
Ceramist:
Coutinho
Dressmaker:
Esther Mian
Fiberglass:
Bertinho
Executive production:
Jair Correia and Miriam Fontana
Direction:
Miriam Fontana
HELLENIC is a theatrical show resulting from the meeting of poetry, dance, and music. Extracted from the homonymous book by Silvia Jacintho, the Jorge de Lima award 1992 by the Brazilian Union of Writers, the universe of this artistic work is born in the time/space of the Hellenic world, where these three sources founded the primordial basis of theater, and projects itself beyond Greek borders, reaching contemporary emotions and thoughts.
The Story of the Little Boat (1999)
The Story of the Little Boat had its first version in 99 with Míriam Fontana telling the story of this fantastic character created by Ilo Krugli.
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The Story of the Little Boat
by Ilo Krugli
Direction and Performance:
Miriam Fontana
Performance in the Prologue and Sound Design:
André Cruz and Eula Hallak
Visual Conception and Scene Objects:
Jair Correia
"The Story of the Little Boat", tells the life of Pingo I, a small boat that has always been anchored at the pier. When he manages to free himself, he goes down the river lost in the current in search of a flower called Irupê, which whom he once met and feels a great friendship with. Uncontrollably he reaches the sea, faces its dangers, and only after meeting a sailor is he able to head towards his goal.
The Wedding of Captain Cagapau (2001)
This was perhaps the most controversial work by Fora do sériO: the same story told twice, the first comic and the second dramatic. Never has the public been so uncomfortable with its own hypocrisy. When verifying that the same public that watched the laughter in the first part laughed at the irrisible, it fell silent in the second when realizing such a forceful theme; the torture.
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The Wedding of Captain Cagapau
Cast:
André Cruz, Tânia Alonso, Sandra Corradini, Fabrício Papa, Antonio Barbosa,
Robson Coimbra, Eula Hallak and Frederick Hunzincker
Visual Conception, Masks and Costumes:
Jair Correia
Executive production:
Jair Correia and Miriam Fontana
Direction:
Frederick Hunzincker
Alluding to the mambembes theatrical companies that often made a cart their means of transport, stage, and address, the actors of this show, "The Wedding of Captain Cagapau" with the group Fora do sériO, arrive making use of music, instrument and singing, circus tricks and a lot of joy to tell a typical Commedia Dell'Arte story, which although the name refers to something unknown, the characters are in the imagination of all of us: a couple of young people in love forbidden to marry, the old miser, the unreliable doctor of laws, the opportunistic villain and the totally confused servants. With precision and agility, the love story between Orácio and Isabela unfolds, causing the audience to laugh.
Where There Is No Enemy, It Is Urgent To Create One
(2002)
This was perhaps the most controversial work by Fora do sériO: the same story told twice, the first comic and the second dramatic. Never has the public been so uncomfortable with its own hypocrisy. When verifying that the same public that watched the laughter in the first part laughed at the irrisible, it fell silent in the second when realizing such a forceful theme; the torture.
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Where There Is No Enemy, It Is Urgent To Create One
by João Bettencourt
Cast:
André Cruz and Robson Coimbra
Visual Conception, Masks, and Direction:
Jair Correia
Executive production:
Jair Correia and Miriam Fontana
This text portrays a troubled moment in the national reality, during the dictatorship regime when the meeting of the torturer and the tortured secreted the dark corridors of authoritarianism. Who is the tortured and who is the torturer? What secrets do they hide? Sometimes surrealist, sometimes shocking for its reality, the relationship between these two personalities reveals power and weakness, in a dialectic that exposes the fascinations of human consciousness. When analyzing today the violence between the oppressor and the oppressed, which is no longer found in the cellars of the barracks but in the streets, in the slums, causing a terrible inversion of values in society, it will not seem absurd to us when the authority says: "- The What's wrong with me having a gun pointed at you? It's a form of affection!" Laughing, crying, or getting emotional, the spectator is catalyzed by this surprising production by Fora do sériO.
The Story of the Boat (2002)
Its second version, no less interesting, is told by Tânia Alonso in a performance that caught the attention of specialized critics from São Paulo.
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The Story of the Boat
by Ilo Krugli
Direction:
Miriam Fontana
Performance:
Tania Alonso
Performance in the Prologue and Sound Design:
Sandra Corradini and Eula Hallak
Visual Conception and Scene Objects:
Jair Correia
Executive production:
Jair Correia and Miriam Fontana
"The Story of the Boat", tells the life of Pingo I, a small boat that has always been anchored at the pier. When he manages to free himself, he goes down the river lost in the current in search of a flower called Irupê, which whom he once met and feels a great friendship with. Uncontrollably he reaches the sea, faces its dangers, and only after meeting a sailor is he able to head towards his goal.
Act of the Ship of Hell (2002)
Act of the Ship of Hell had a successful season in São Paulo at the Centro Cultural São Paulo, with a large audience and expressive criticism, not only from specialized critics but also from the theatrical class. It was nominated for the 16th Shell Award for Costume Design, Visual Design, and Mask. This show is currently circulating.
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Act of the Ship of Hell
Cast:
André Cruz, Tânia Alonso, Luis de Toledo
and Fabricio Papa
Angel's Voice:
Vânia Lucas
Technical team:
Against rule:
Alan Izidoro
Light Operation:
little Wolf
Sound Operation:
Jair Correia
Costumes:
Dino Berardi
Seamstresses:
Maria Luzia da Costa and Inês Alonso
Workshop Assistant:
Andre Cruz
locksmith:
Oliver Cantarelli
Woodwork:
Francis of Assisi Brazilian
Driver:
Devanir Pereira Martins
Helper:
Juscelino Pereira Martins
Music Track:
Mario Feres
Preparation of actors:
Miriam Fontana
Visual Conception and Masks:
Jair Correia
Production/SP:
Alexandre Brazil
Executive production:
Jair Correia and Miriam Fontana
Direction:
Jair Correia
Gil Vicente can be considered one of the great geniuses of Western literature, parallel in importance to Shakespeare, Camões, or Homer. We could not talk about theater in Portugal before Vincentian work. His plays are written within a pattern of autonomy, where the gallery of characters addresses all types of society at the time. His farces strike from the pope, the king, and the high clergy, to the lowest social class such as moneylenders, procurers, and artisans, among many others from a period where money and power are the mainsprings of life. Act of the Ship of Hell is one of those satires where the comic characterization of the characters permeates the burlesque, dealing in a forceful way with human misery, prevarication, bribery, corruption, the glories promised by God in eternal life, such as we face today with similar situations. Fora do sériO, with its characteristic style that made it recognized as a group that works with popular theater, could not leave this important text in the Portuguese language absent from its repertoire and proudly presents this show to the public.
The Island of Dr. Moreau (2004)
The Island of Dr. Moreau was produced during the Ongoing Creation and Production Process carried out from August to December by Sesc SP Ribeirão Preto. During this period there were lectures, workshops, and open rehearsals with public debates so that the creation of the show
be nourished by the most varied opinions.
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The Island of Dr. Moreau
Cast:
André Cruz, Marcelo Góes, Lara Cordula, Tania Alonso, Luis de Toledo,
Miriam Fontana and Murilo Ferreira
Technical team:
Dramaturgy:
Amir Abdala
Costumes:
Dino Bernardi
Soundtrack:
Raul Teixeira
Light Design:
Ari Buccioni
Scenography and Masks:
Jair Correia
Stage Handlers:
Luiz Fernando
Dressmaker:
Maria Luzia da Costa and Inês Alonso
Workshop Assistant:
Gustavo Andrade
Locksmith:
Oliver Cantarelli
Production/SP:
Alexandre Brazil
Executive production:
Jair Correia and Miriam Fontana
Script, Conception, and Direction:
Dino Bernardi
The world is watching, more and more, social transformations, and visualizing a future loaded with doubts. We have already witnessed several moments that required judgment from us. It was like this with the contraceptive pill, with the test-tube baby, now with cloning, and with so many other questions that transform humanity.
We are currently witnessing a series of discussions regarding the manipulation of living beings, from plants to human beings, including some sheep. Stem cells, cloning, transgenics, genome, and DNA are the doubts loaded in our conscience today. People of all ages, all genders, colors, nationalities,
ethnicities and creeds ask: who are we, and what can we do?
Faced with these doubts, the group Fora do sériO sought inspiration in the scientific anticipation soap opera “A Ilha do Dr. Moreau” by Herbert George Wells.
Written at the end of the 19th century, the work shows the scientist Dr. Moreau and his intention to create the perfect human being, free from any violent manifestation. For this, the scientist interferes with animals, and as a result of his brutal experiments, he creates deformed mutant beings, half animals, half men who live under his tyranny,
coerced by pain and laws that run counter to natural origins.
The show “The Island of Dr. Moreau”, from the group Fora do sériO, inspired by the work of HG Wells, recovers speculative fiction in the face of the current reality of scientific development, which announces the power of “creation” of the perfect human being, and makes a reflection about it. The future and new reality that will certainly exist, with unpredictable and transforming consequences of human life, cannot be visualized in its fullness,
but it can be discussed in essence.
The Private Thing (2004)
“The Private Thing” is the theatrical show created by the group
Out of the series in partnership with SESC Ribeirão Preto.
The special thing about this project is that it was conceived in such a way that its creation process was
exposed to the public before the conclusion of the show. Thus, through open trials,
lectures, and workshops, the public was able to reflect, debate, expose and listen to ideas, express opinions, contribute
to the elaboration of the work, and unveil the stages of theatrical creation.
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The Private Thing
ABOUT THE SHOW
The theme of “The Private Thing” is extracted from the political life that Brazil currently lives. Unfortunately, the news published by the press does not reflect models of politicians that inspire pride, on the contrary, successive scandals have left the population awestruck with the degree of organization of gangs in the public sector specializing in fraud, tax evasion, embezzlement of public funds, sales of technical reports, falsification of documents, fraudulent bids, etc and etc ...
“The Private Thing” is a show designed to reach the public in a comprehensive way.
As for the aesthetic choices, the comic and the use of the theatrical mask are not new for the group Fora do sériO, but the boldness is in the option for a show based on non-verbal language. Although it was an old dream, “The Private Thing” fulfilled this desire to present a show based on gestural communication and not dependent on verbal language. As one spectator of the open essay has already expressed,
“the public constructs its dialogue”.
The form of construction of the show is also intrinsically linked to the theme. Collective creation was the option for writing the script, assembling scenes, and organizing ideas. It is not an easy process, on the contrary, it requires great group development and the ability to listen, change, and accept the ideas of the other, in fact,
essential prerequisites for living in a democracy.
The Donkey (2008)
“The Donkey” is a show designed for the street, open or alternative spaces. The group Fora do sériO's montage works with masks from Commedia Dell'Arte*, Arlecchino, Franceschina, and their friends of confusion Razzulo and Scaracco,
but with a very Brazilian flavor, and establishes a wide communication,
allowing a game with an audience of all ages.
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The Donkey
by Dario Fo
Translation and Adaptation: Neyde Veneziano and Grupo Fora do sériO
Direction:
Miriam Fontana
Cast:
Arlecchino - Fabrício Papa
Franceschina, Cucurucu - Miriam Fontana
Razzulo - Tânia Alonso
Scaracco - Larissa Medeiros
Captain Cocodrillo, Pulcinella - Luis de Toledo
Gorila, Zanni - Gabriel Galhardo
Visual Conception and Masks:
Jair Correia
Sound design:
Out of series
Photography:
Fanca Cortez
Workshop Assistant:
Larissa Medeiros
Seamstresses:
Ignes Alonso de Oliveira
Ivanilda Miranda Paes
Shoemaker:
Jose Hamilton
Executive production:
Miriam Fontana and Jair Correia
The King of the World (2011)
“The King of the World” is the exciting story of Raimundo, a child, son of a farm owner, who has such a passion for animals that he wants to study and become an “animal doctor”. One day, returning from school, he has an encounter that changes his life: a circus. It is from this circus that Raimundo gets Trapezio, a very fragile horse, but with his care, it survives. Raimundo could not imagine the price he would pay for this gift.
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The king of the world
from the homonymous literary work by Lucília Junqueira
Adaptation:
Iana Montanha and Miriam Fontana
Cast:
André Cruz, André DO, Fabrício Papa, Iana Montanha
Miriam Fontana, Rafael Ravi and Renan Eichel
Scenic Sound Design:
André Cruz and Miriam Fontana
Circus body preparation:
André DO
Visual Design:
Jair Correia
Lighting:
Ariney Borges
Costume:
André Cruz, Miriam Fontana and Group
Photos:
Jair Correia and Fe Sousa
Seamstresses:
Maria Inês and Ivanilda Paes
Transport:
José Roberto Campezzi and Eder dos Santos
Press office:
Source Press Office
Production:
Amanda Furlan
Executive production:
Jair Correia and Miriam Fontana
General direction:
Miriam Fontana
The show “The King of the Worlds” has the quality of being able to receive audiences of various ages.
It is not aimed at a specific age group, the more mixed the better, but it has a strong appeal for an audience between 6 and 12 years old. It has an attractive language, which creates ties with the spectator who vibrates and follows the path of Raimundo, the boy who takes home all the animals that need care. But the best thing about the show is the discussion it proposes. Today, in a time when money determines all decisions, and everything that is sold at a good price becomes acceptable by society, questioning this “law of the best price” seems absurd. “King of the World” discusses this issue.
“The King of the Worlds” is the first book by the writer Lucília Junqueira, which gave special attention and a lot of responsibility in the adaptation for the theater,
successfully held by Fora do sério/Casa da Arte.
Dom Casmurro (2012)
“Dom Casmurro”, a theatrical show by Grupo Fora do sériO, is an artistic realization of the renowned work of the same name by Machado de Assis. Based on the result of artistic experiences of dramatic readings of the text for essentially young audiences, the Group was motivated to completely carry out the staging. The young audience, engulfed by the narrative of the love triangle, overcame the formal distance from language, and vitally accompanied the questioning about the truth or supposition of the facts. This is the impulse that sustains the montage of the work, to provoke theatrical fruition with the richness of Machado's language.
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Dom Casmurro
Extracted from the homonymous work by Machado de Assis
Cast:
André Cruz, Fabiana Martins, André DO and Marcelo Evangelisti
Adaptation:
Miriam Fontana and Iana Montanha
Assistant Director:
Iana Mountain
Scenography:
Jair Correia
Costumes:
the group
Executive production:
Jair Correia and Miriam Fontana
Direction:
Miriam Fontana
The solutions found in the challenge of transcreating the work determined its conception. The direction of the show chose to maintain the narrative line of the book and focus on the central characters of the plot of the announced love triangle, Bento, Capitu, and Escobar, with the addition of the most valuable (he would say so himself), José Dias. D. Glória, remains during the play
as a latent dominant power.
The staging sought to synthesize the literary work: the vivid memories of the teenage love between Bentinho and Capitu, the drama of the separation between them caused by Bentinho's obligation to follow the religious life, Bentinho's joy of meeting in the seminary who would become his best friend; liberation from the obligation of being a priest; and the supposed love triangle narrated by the character Dom Casmurro. If the narrative focused on synthesis, the theatricalization of the characters sought
the amplification of the obsession that Bento Santiago built for himself.
The scenic design chosen allows for freedom of movement in time, offering contemporary approaches, whether in sound design, costumes, quick transitions from scene to scene, or amplified body movement that allows for
communication of
scenes not only by oral narrative.
The scenery is self-sustaining and does not need points in the warp for its assembly. It is made of modules, which allows it to meet the project's needs in the agility of assembly, disassembly, and accommodation of the scenic material.
broken house tools
Isabela Graeff, Míriam Fontana, and Renata Martelli embarked on a theatrical journey,
at first as an artistic investigation,
and now sharing the result of the work.
How it all began ...
The great essayist, literary critic, translator, philosopher, and sociologist Walter Benjamin,
in his famous text “The Narrator”, praises in an extraordinary way the narratives of the Russian writer Nikolai Leskov. The desire to unveil the powerful force rooted in Russian stories and the translation of “The Fraud” into Portuguese allowed the actresses to become entangled
in the game between theater and the narrative language of the spectacular Russian short story
“Kotin, the Provider and Platonida”.
The work built up slowly. There was no rush to approach languages,
different bodies and voices in search of an expression.
Describe your image
Describe your image
Describe your image
broken house tools
adaptation of the short story "Kotin the Provider and Platonida" by Nikolai Leskov
with the product Fora do sériO
Translation:
Denise Sales
Dramaturgy:
Grupo Fora do sériO
Direction:
Jonas Golfeto
Conception and Operation:
Isabela Graeff
Miriam Fontana
Renata Martelli
Music Direction:
Maestro Sergio Alberto de Oliveira
Scenography and Scenography:
Jair Correia
Costume and Makeup:
Dino Bernardi
Lighting:
Jonas Golfeto
Assembly and Light Operation:
John Zanon Baptist
Light Operation:
Michel Mika Masson
Modeling and Sewing:
Zeze Cherubini
Luthiers:
João Bisinoto and Eliana Paula de Oliveira
Libras Translator and Interpreter:
Lucas Rafael Gomes dos Santos
Digital Media Advice:
Amanda Furlan
Press office:
Source Communication
Production Consultancy:
Fernanda Moura
Executive Production:
Jair Correia and Miriam Fontana
Realization:
Casa da Arte Multi Meios
The Nose (2022)
The project "Fora do sériO 30 years, an instant", originally thought to be a
the street show, "The Nose", was transmuted into audiovisual language.
Adapted from the homonymous short story by the Russian writer Nikolai Gógol (1809 - 1852), the work belongs to
to fantastic literature and was written in 1836.
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"The Nose" is conducive to being presented these days. In addition to the feature of
timelessness that every great work has, "The Nose" discusses the presence of the absurd in
everyday context. Without any metaphor for the unusual events, the plot
proceeds as if it were plausible for a subject to lose his nose, and also find it
walking and talking through the streets of the city.
What is real? Imaginary? Absurd? Unthinkable?
What is subject to disclosure and information required? as an important fact
turns into just rumors? How the mind itself mixes people and
happenings?
in style walking movie, "The nose" brings in a comic way a strange event and
involves the spectator as an accomplice in the unfolding of the plot.
“Fora do sériO 30 Years, An Instant”
project contemplated by
ProAC Expresso Lei Aldir Blanc - Axis Award,
program of the Secretaria de Cultura e Economia Criativa
do Estado de São Paulo
The Nose
Based on the homonymous text by Nikolai Gogol
Cinematography, Screenplay, and Direction
Jonas Golfeto
Collaboration on the Script
Miriam Fontana and André Cruz
Cast
Andre Cruz
Miriam Fontana
Isabela Graeff
Renata Martelli
Michel Mika Masson
Thomaz Féres
Adriana Scannavez
Cínthia Vendrúscolo
Hezrom Lazarini
Jair Correia
Zeze Cherubini
Team
Art Direction and Editing
Jair Correia
Music Direction
Sergio Alberto de Oliveira
Costume designer
Zeze Cherubini
Disseminator in Digital Media
Rafael Touso
Press Office
Source Communication
Drone
Antonio Torres
Shoe Shop
Luiz Antonio Manzani
Cleaning
Neuma Aparecida
Scenotechnics
CAMM Scenography Laboratory
Scenography Assistant
Adriana Scannavez
Technical Support
Hezrom Lazarini
Presentation Photos
Jonas Golfeto
Foley Sound
Thomaz Féres and Jair Correia
Executive Production:
Jair Correia and Miriam Fontana
Realization:
Casa da Arte Multi Meios