Cabaret Macchina premiered in May 2018 at the Curitiba Festival's Official Show.
- Directed by Ricardo Nolasco, who also signs the dramaturgy with Francisco Mallmann and Leonarda Glück, based on the work of the German playwright Heiner Müller, the show is a post-opera in the form of a street cabaret, which brings together for the first time all the collective artists in a single project.
- Casa Selvática has been one of the main references in the study of cabaret as a language in Brazil, having performed several shows and proposed workshops annually to deepen it.
SYNOPSIS:
A collective of cabaret artists meets in a public space in search of the remains of a hero. In the midst of the spectacularity that makes up the flows and dynamics of a big city, these artists present classic and fragmented characters mixed with their own lives. The warlike tone, present in the tragedies re-read by Heiner Müller and once again re-read by Coletivo Casa Selvática, now finds its way into the city streets.
Power, authoritarianism and fascism suffered by historically marginalized and excluded bodies are performed by an army of artists carrying ideals, failures and small victories through the corrosive humor of an anti-Oedipal cabaret. The collective thus exercises a new possibility for the world, a desiring machine spectacle. Inside the city, canonical characters from the rubble of a theater of war meet the ghosts of a contemporaneity that throws everything and everyone into the great vacuum of disuse.
SEARCH:
We are a collective of Brazilian artists in the exercise of creating by blurring the boundaries between art and life. In the last 8 For years we have been developing a particular research in relation to the study of cabaret as a language with the realization of shows, workshops and residencies. For us, the cabaret is a political space, work in progress and that allows the development of a hybrid/porous art directly related to contemporary dramaturgy.
Cabaret Macchina expands the group's research in the construction of a variety show performed in public spaces, a creation of dramaturgy that relates experiences, architectural and historical issues of the places where it occupies.
A work in progress, an open show, the public as an important composer and transforming element. The montage mobilizes elements by proposing a relationship between two dramaturgies: the textual and the one created with displacement and spatial appropriation. By making the entire area a scenic space, the staging transposes and reconstitutes the atmosphere proposed by Müller for the imaginary. of this cabaret.
A training of affectivity and reduction of pre-established barriers drawing a new Hamlet: a myth re-read, an ideal wrapped in failures, the incompleteness of a hero. Hamlet is a black woman, Ophelia is a trans woman and Medea is a machine woman. Thus, these anti-heroes are related to a group of cabaret artists in the quest to build a desiring spectacle machine. An anti-Oedipal post-opera because the heroes of a finished and total work have been lost and are now mixed with other ex-heroes in a cabaret made in the street.
DATASHEET:
Dramaturgy: Francisco Mallmann, Leonarda Glück and Ricardo Nolasco (from the work of Heiner Müller)
General Director: Ricardo Nolasco
Movement Director: Gabriel Machado
Musical Direction and Sound Design: Jo Mistinguett
Costumes: Cali Ossani, Stéfano Belo and Patricia Cipriano
Lighting: Semy Monastier and Patricia Saravy
Makeup: Nina Ribas and Stéfano Belo
Cast: Amira Massabki, Cali Ossani, Leonarda Glück, Leo Bardo, Matheus Henrique, Nina Ribas, Patricia Cipriano, Patricia Saravy, Ricardo Nolasco, Semy Monastier, Simone Magalhães, Stéfano Belo and Victor Hugo
Consultancy and stagehand: Amabilis de Jesus
Urban Mapping: Renata Cunali
Produced by: Cacá Bordini
Images: Amira Massabki
Graphic Design: Thalita Sejanes
In Cabaret Macchina, the artists of Casa Selvática, a collective based in Curitiba and with strong action in public spaces, meet Karina Buhr to occupy the streets of the city and reinvent new possibilities for the world. Corrosive humor, relations between the classic and the contemporary and the free and vibrant activism of these fundamental artists in the Curitiba scene.
Guilherme Weber and Marcio Abreu Curatorship Festival of Curitiba
Even though it is a street show, the group develops actions beyond what is traditionally done in the genre.
Janaína Leite
curated by fIT RIO Preto
This piece is a war machine. A constant deterritorialization of references, a liquidation of the solid and sordid certainties that protect life in cities. The team at Selvática Ações Artísticas enshrines its transgressive trajectory with a highly explosive piece.
Leandro Schmidt
cursed mouths
Cabaret Macchina, a great cabaret of ironies and denunciations of Curitiba's and national geographies, narratives and collapsing structures, investigates a hybrid scene that mixes elements of the performing arts, performing arts and literature, from the classic-canonical to the contemporary. An equally contemporary metatheater in which everything is staged, in which it is intended to make a mocking revolution, to deconstruct paradigms.
Soraya Martins
Scene horizon
The spectacle has its clear and defined directions: there are targets and there are shots. It is the result of a search. Voices and debris emerge from a collective and research work whose general direction is signed by Ricardo Nolasco. A spectacle that I read like a book of poems.
Astier Basilio
FIT RIO Preto
Show history:
- debuted on April 3, 2018 at the Curitiba Festival Show at the invitation of curators Marcio Abreu and Guilherme Weber;
- The presentations at the Curitiba Festival (April 3rd and 4th) were a record audience for the festival's street shows, having reached more than 1000 people in two performances.
- Between April, May and June, he carried out a circulation project in the neighborhoods and outskirts of the city of Curitiba through the Subsidized Patronage Notice of the Cultural Foundation of Curitiba, completing a total of 20 presentations in various spaces and public places in the city.
- Performed two presentations (July 9 and 10, 2018) in the FIT RIO PRETO - São José do Rio Preto International Festival.
Full video of the show:
First act
second act
needs
techniques
The show can take place in a street or city square and also in a shed or shed that offers the possibility for the show to start on the street and enter this space. Each presentation is related to the architecture of the place and therefore the riders sent here are based on the equipment used in the registration video presented, but they can/must be adapted and reorganized according to the configuration of the place chosen for the presentation.
Sound Rider: two mid/high PA sets (4-box line array system) interconnected | 4 subwoofers | 1 mixer with 30-channel effects and aux output | 1 mixer with 20-channel effects and aux output | 4 Headset Microphones with Long Signal Range to the Base | 6 Wireless Dynamic Microphones | 10 Dynamic Wired Microphones | 1 bass amplifier with signal output for the PAs | 1 guitar amplifier with signal output for PAs | 10 microphone stands.
Rider of Light: 12 TOWERS | 16 PAR F5 | 10 PAR F1 or F2 | 40 PAR LED RGBWA | 16 MOVING LIGHT WALSH | 8 ELLIPSES ETC 1000w | 10 PCs 1000W | Tiger Touch Avolite Table | 2 RAZE MACHINE smoke machines
A hero's remains aren't good for much, after all. The myth is remade. The stone is inhabited. Interested in a new possibility for existence, we offer a desiring machine show. It is from here that we measure all the distances in the world, all the stories that came before. Dramaturgies mingle with the city floor. We step into different temporalities, delusions of life, stars, death and art. War: we are an army of artists!