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To Gilda with ardor

I scored 78  meetings with Gilda on the streets of Curitiba and I bring them here.

Here is the crossroads, the meeting of the pororoca.  

This is the body of a jester that is offered to you for the hallucination of this city.

My heart is made of opposing forces - Gildas. Something that pulls from here and pushes from there. Some say fate, I say let me go. It's not crown, it's not homeland, it's not comfort. It's a path in the darkness that I carry inside me.

In "Momo: Para Gilda com Ardor", the performer and director Ricardo Nolasco, a contributor to the collectives Selvática and O Estábulo de Luxo, is a poet of presence.

Fat, bearded, he immediately subverts any effeminate expectations, as does the iconic transvestite he evokes. Died in 1983, Gilda transgressed conservatism in the central streets she had occupied since the 1970s, coming from the interior of Paraná.

Vedete, dancer at a samba school and skilled mediator in capturing coins and kisses from other people's charity, she appears cheeky and vociferous.

Multiple visions of a script that calls Artaud, Jodorowsky, Fellini, Sylvio Back and Zé Celso (by extension) to unmask machismo's raised finger under the disorder of a lascivious cabaret.

"Momo" culminates in the abandonment of the stage at the back of the theater and becomes a block led by Nolasco, other actors and the audience towards the surrounding streets. Gilda's symbolic return to the urban space that she deterritorialized.  

Valmir Santos

Newspaper. 2017.


In his first solo work, Ricardo Nolasco presents himself as the hybrid artist he is (of performance, situationist, poet, cabaret artist and experimental theater). Through the study of Alejandro Jodorowsky's work, the process remaps the city of Curitiba in the search for Gilda (bearded beggar transvestite famous in the streets of downtown Curitiba in the 70s, died in 1983) seeking to build a new possibility for the real through fiction .
Feet marked on the almost hard cement of a revitalization policy.

In the performer's body, mythologies, memories, paths, lives, events are intertwined.

It is an alchemical vessel - crossroads - sacrificial tombstone.

Psychomagic manifesto letter jocular rite loaded with sarcasm and irony.

A goofy spectacle.

A post-dramatic and pre-dramatic tragedy.

A shamanic work in progress operetta.


Ask for the fantasy.

Vagrant life, lazy destiny, carnival meat.

Gilda is pure jazz!


- Official Show - Curitiba Theater Festival 2017 - II Curitiba Mostra
- 10th New Repertoires Exhibition 2017
  (Curitiba - PR)
- Plural - Diversity Festival 2017 (Araçatuba - SP)
- 5th
  Brazilian Theater Festival Toni Cunha (Itajaí - SC)
- Jungle - Degenerate Arts Exhibition
  2019 (Curitiba - PR)

- 17th International Cabaret Festival (Mexico City -  MX)
- 24th Isnard Azevedo Festival 2019 (Florianópolis - SC)


Design and performance: Ricardo Nolasco
Creators: Daniela Passarinho, Márcio Mattana, Luciano Faccini, Melina Mulazani, Marina Viana and Leonarda Glück

Collaboration: Gal Freire, Stéfano Belo,  Thiago Bezerra Benites, Má Ribeiro, Matê Magnabosco, Francisco Mallmann, Patricia Cipriano
Sound and soundtrack design: Jo Mistinguett
Lighting: Beto Bruel and Semy Monastier
Costume designer: Carmen Jorge
Prop: Max Carlesso
Production: Renata Cunali and Gabriel Machado
Partnership/realization: Scenic Space


Ricardo Nolasco

Cabaret artist, shaman, tarologist, ex-actor, performer, writer, poet of presence, ex-theatre director, panic artist, neon Dadaist, situationist, teacher of performing and performing arts and flâneur. Gilda, Momo, Goliarda, Zaira Zarathustra, Hugo Bola and countless other doubles. Graduated in Performing Arts from UNESPAR/FAP.  Co-founder of Selvática Ações Artísticas, of the group O Estable de Luxo and of the ULC (University Free of Quackery). 
Together with other artists, he organizes  the cultural program of Casa Selvatica. I play through the streets of the cities I pass as if they were my playground. In his work, a border art with reference to vaudeville stands out, the transubstantiation of classic works, questions about national, Latin American and Paraná identity. Art and life on the edge of crushing, shattering. Since 2016 it has been developing  Artaud's hybrid research of performance, buffoonery and writing with the Momo series. 

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