Parallel to my artistic practice and studies, I have had a variety of work experiences. From volunteering to regular jobs, work has been a way of getting in contact with the world and experiencing capitalism in a very intimate way. More recently it also became an opportunity to play with identities and to navigate into spheres of the society that are not easily transposable.
Below, a list of some occupations I have already had:
Typist, computer technician, video editor, web designer, masseur, cook in a vegetarian catering, tarologist, cleaner. Teacher of: web-design, bodywork, Indian classical dance, contemporary dance, massage, theatre. Pedagogical coordinator of theatre school, waiter, bartender, moving conveyor, game master in an escape room, photographer, light designer, dancer, actor, dramaturge, director, assistant, movement director, sound technician, figurant, deliveryman, gardener.
Besides, I am Brazilian, coming from a middle class, left-wing, suburban family from Sao Paulo.
I studied cinema at the University, while I dedicated myself to a variety of extra activities connected to theatre and movement, such as capoeira, Indian Kempo, folk dance, violin, singing, and worked with data processing, video edition, and eventually with animation and web design. The mix between all those practices triggered me to some first attempts to connect movement and technology, doing short animations for the Internet departing from dance improvisations.
At some point, I decided to live in an alternative community with friends, far away from the city, just planting, practicing yoga, Kempo, cooking bio, and praying to the 4 directions. We aimed to create performances that would comprise food, movement, and visual art. But soon, we realized that the project was financially impracticable. And slowly we started to return to Sao Paulo, the capital.
Soon after that, I started working as a movement advisor for theatre companies, and for that reason got invited to work in a theatre school in Santo Andre, called Escola Livre de Teatro. Mixing different body practices that I had learned in all sorts of workshops and free courses with my own experience in dance and performance, I started to develop the tools for teaching movement for actors. As a research-based school, I was gifted enough to collaborate with some of the important names of the theatre scene from Sao Paulo, such as Francisco Medeiros (Núcleo Argonautas), Mariana Senne (Cia. São Jorge de Variedades), Georgette Fadel, Luis Fernando Marques Lubi (Grupo XIX), and Vinicius Machado. With some of them, I co-directed theatre pieces of the school or collaborated on external productions.
Thanks to ELT I also guided I study group called Errantes, inspired by the trilogy Molloy, Malone Dies, and The Unnamable, by Samuel Beckett. For two years, I developed a movement research with some students, that would comprise all his theatrical pieces. This research led me to my Master’s degree research in Theatre Studies at Unesp – SP (2012), where I dug into Beckett’s notebooks where he registered his experience as a director of his own pieces, from the 60’s to the 80’s. Both my master’s and the study group led ( with Ricardo Inhan) me to write and direct the theatre piece Vanitas, also inspired by still life paintings. All this immersion into the universe of Samuel Beckett left me profound marks, which will afterward evolve into my current interest in movement restriction, absurdity, game, and precariousness.
Parallel to my theatrical research, I joined the contemporary dance company Cia. Oito Nova Dança, under the guidance of Lu Favoretto. With them, I participated in a few dance pieces, some of them inspired by the Amerindian perspectivism of Eduardo Viveiros de Castro. I got truly interested in the way the shamans transform their bodies and perception, by body painting, singing, dancing, drinking beverages, in order to communicate with spirits, gods, or animals. This procedure of self-affection in order to find a way of communication became crucial for me later on, when I started to play with the performativity of the immigrant, and her/his effort to transform her/his body in order to fit into society.
Just before coming to Europe, I was working as the pedagogical coordinator in a theatre school (ELT). For many years, this school was targeted by the municipality, which tried by every means to close it. The government had changed, and even if the school was nationally recognized as an important center, keeping the project was expensive and didn’t bring many votes for their party during the elections. Simultaneously, I started a new co-direction of a project with students and Vinicius Torres Machado, inspired by “The Castle” by Franz Kafka and the political struggle of the school. APORIA 23øS 46ø premiered a bit after my departure to Europe, having participated in several festivals in Brazil, and enthusiastically acclaimed by critics and public. The process of participating in the creation of this piece and the experience of coordination of the school in such a critical moment provided me inspiration to further elaborate on the injustices of immigration procedures, and in how to make room to humor within the chaos.