retropic

Retropica is a show only that, through the body, negotiates the attributes of export-type culture existing between Brazil and Spain. Sem olá nem adeus a capitania desse trabalho é anthropophagous, não tem carcaça, é unmoored and transcultural. Retrópica does not notice no samba or no heel tapping, but simply seeks or transit between them.

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Or Brazil has to be rediscovered by a Catholic Iberian treaty that does not carry any kind of romance. It was our America that gave birth to European modernity, however, we were filled with catechism and we just had to suck or read the stone. Or our hero is a barbarian and the temple of a woman, or our hero is a milkmaid, who, without a feeding interval for raising others, keeps puppies sucking their fluid, we bleed.

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Mergulhados na fissura da nação do tropicalismo, da doença tropical, we continue sem lenço mas com samba no pé. EITHERpindorama matriarchyIt's an achado, it's such a big guarantee or localist de-emphasis and resignation of everything here that you have to die for us to be born. As far as neocolonialism, or fanaticism, intolerance, immorality, or fear, it overwhelms us,retropicI'm a woman It's tupi, it's blind, it's the pelvic dance of "vox clamantis in deserto", it's taboo without a totem.

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CRITICISM

Veronica Posth // SeeingDance Magazine (Berlim)

¨Retrópica is a beautifully stratified work that deals with eclectic aspects that define a woman. Paula's metaphors are intertwined with strength, charisma, skill, beauty, self-confidence and irony, all fused in a brilliant and fun way.¨

Nicholas Campanelli // Revista Campadidanza (Italy)

¨Retropica is an interesting representation, well built, pleasant to watch, performed with ferocity, strength and energy. It is a great work with important content that offers numerous points of reflection.¨

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Andreia Evangelista // ArtCult Magazine (Brazil)

¨Retrópica is a solo show that denounces the two-way domination of neocolonialism, it also deals with fanaticism and intolerance [...]. From these we reverberate the gestural crossings that go from samba to flamenco, tearing apart the spatiality with a body that traces dinner or reports of being a woman – a white field of rape of the colonizer in the South American land.