Iracema 236ml It is a brief passage of Brazilian literature in the direction of living dinner, words toned meat, body, video, hair and hair, brief and ironic as are human beings, locked inside that are delights, demands, ordinances and love. The image of the Brazilian Indian is aroused by the love of the exotic, by the locals of a Brazil that is born badly and is already dying, of poverty, of lack of education, of being robbed, sugared, cracked, of lack of love, poorly fucked and poorly paid.

 

Urban life unfolds, we remain vestiges of medieval domination, we remain, tense, as shadows eo pó dos ossos de José de Alencar, Artaud, a little Brecht, we remain trembling to fight, dance in poetry das dunes, smile I don't hear the apocalypse, we still have so much of Oswald, since only anthropophagy unites us, we still feed on the always ungrateful stranger, take it down, we still have to deliver the body, seios, bunda and all the orifices, resta-nos or imóvel of flesh of Deus to sell and sulcar.

 

A tabajara Iracema transubstantiated in technological crime, a vingança in Technicolor, an open book in film, a theatrical novel film in HD, three-dimensional and sudorento, a work that unites or films tense muscles. The kindness of the Indian, his natural innocence, his life says goodbye to problems, we can very much have the same root or costume of eating in the face of his fellow men, as in some tribes. The goodness of my human life is either an escapist drama, or love is always tragic, or a utopian Brazilian. A tempestade eo impeto vem da same força, o espírito do tempo que a todo destrói.

 

Or Brazil is mestiço. Nem branco, nem negro, nem indigenous, nem ênfase, nem mau gosto: dramatic amalgamation of the races that smiled as soon as I was raped or raped. Nossa Iracema is the profile of the ideal woman, like Amélia, it is the allegory of the northeastern sertão, or the Ceará coast, or the gaúcho pampas, a rural area, a city and a growing bourgeois society, all was done in April 2014, in the cold city of Curitiba, not Paraná, terra dos tupi-guaranis, caingangues e botocudos, with their baskets and their taquaras, their canjica and their paçoca.

 

Kneaded, more and more, the Indians, kneaded, more and more, or human, kneaded, more and more, or love that burns as you enter, that love that is born and dies in the same phrase within this jungle theater.

 

Leonarda Gluck

 

 

ARTISTIC SHEET

Text and address: Leonarda Glück

Cast: Patricia Cipriano, Stéfano Belo, Ricardo Nolasco, Mari Paula, Simone Magalhães _cc781905-5cde-3194-bb3b-136baditze Kotitze Manotze

Movement address: Gabriel Machado

Trilha Sonora Original e Sonoplasty: Jo Mistinguett

Guitar and double bass: Akio Garmatter

Figure: Gui Ossani

Cenography: Danilo Barros (Modular Dreams) 

Videos: Tamíris Spinelli and Danilo Barros

Lighting: Trio

Light Drawing: Wagner Corrêa

Light Operation: Semy Monastier

Voice over: Límerson Morales

Production: Gabriel Machado

Graphic Designer: Rafael Bagatelli

Realization: Selvatica Ações Artísticas

​

​

HISTORICAL

• Show Made through do Edital Teatro Novelas Curitibanas Season 2013/2014,_cc781905-5cde-3194-bb3b-158bad5cf58d Cultural Foundation Curitiba. May and April 2014, Teatro Novelas Curitibanas, Curitiba, Paraná, Brazil. 

• National circulation through the Myriam Muniz Theater Funarte Award 2014.

• Gamboavista4, Galpão Gamboa - Rio de Janeiro - RJ. May 2015.

• Sesc Senac Iracema Theater - Fortaleza - CE. July 2015.

• Cinema Theater Glóriah - Curitiba - PR. September 2015.

• Funarte SP - Arquimendes Ribeiro Hall - São Paulo - SP. October 2015.

• Mostra Sesc Cariri de Culturas - Banco do Nordeste Cultural Center - Juazeiro do Norte - CE. November 2015.