Director of Photography
53,000 years before or after anyone. for three days the axis of the earth has stopped. The sun and moon inhabit the earth's horizon at the same time, aligned. The vibrations on the surface
have reduced considerably, we are now very close to vital ground zero. Plant cells and human hemoglobin need to meet. There is only one moment for photosynthesis. The horror of the tropics gnawed at every eye. Free the condensed particle of everything.
Executive Producer
53,000 years before or after anyone. for three days the axis of the earth has stopped. The sun and moon inhabit the earth's horizon at the same time, aligned. The vibrations on the surface
have reduced considerably, we are now very close to vital ground zero. Plant cells and human hemoglobin need to meet. There is only one moment for photosynthesis. The horror of the tropics gnawed at every eye. Free the condensed particle of everything.
Director
53,000 years before or after anyone. for three days the axis of the earth has stopped. The sun and moon inhabit the earth's horizon at the same time, aligned. The vibrations on the surface
have reduced considerably, we are now very close to vital ground zero. Plant cells and human hemoglobin need to meet. There is only one moment for photosynthesis. The horror of the tropics gnawed at every eye. Free the condensed particle of everything.
Self
Cabrita
A marginal version of Brecht’s piece, “Baal”.
From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.
Celeste
Isa, a young artist invited to propose a project for an exhibition, sets out to stage a dramatic adaptation of ‘The Posthumous Memoirs of Bras Cubas’, a satirical 19th-century novel by Machado de Assis. The rehearsal is marred by difficulties which the viewer must interpret as being due to the fact that Isa is a woman, young, black, all of the above, or as difficulties anyone would encounter.
