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Teatro da Vertigem

Venue: KW Institute for Contemporary Art

Was also part of: exp. 1

Teatro da Vertigem

Founded 1992 in São Paulo, BR – live and work in São Paulo
Antônio Araújo, born in Uberaba, Minas Gerais, BR
Renato Bolelli Rebouças, born in São Paulo
Guilherme Bonfanti, born in Leme, São Paulo
Rachel Brumana, born in Juiz de Fora, BR
Antonio Duran, born in São Paulo
Eliana Monteiro, born in São Paulo
Nuno Ramos, born in São Paulo
Eryk Rocha, born in Brasília, BR
Erico Theobaldo, born in São Paulo

Tuesday August 4, 2020, 9:30 pm: A funerary procession of around 120 cars tries to push its way through Paulista Avenue, a frequent stage for demonstrations in the financial center of São Paulo, in reverse gear for the nearly seven-kilometer trajectory towards Consolação Cemetery. Teatro da Vertigem’s Marcha à ré [Reverse Gear] is a performance developed with artist Nuno Ramos and filmed by Eryk Rocha. The piece addresses the necropolitics of the far-right populist regime in Brazil, currently engaged in a genocide of its own population.

The piece was conceived in response to works by Flávio de Carvalho. The first is Série Trágica [Tragic Series], a striking series of drawings portraying the mother of the artist in her deathbed. In the context of the Covid-19 pandemic, her agony represents the right to mourn the thousands of deaths ignored by the government’s authoritarian and negligent response to the health crisis. The second is Experiência no.2, realizada sobre uma procissão de Corpus Christi [Experience no.2, realized on a Corpus Christi procession, 1931], where Carvalho tried to study the reaction of the crowd as he walked in the opposite direction to the worshippers. Due to the Covid-19 pandemic, Teatro da Vertigem’s original plans to come to Berlin and perform a new piece, titled Teologias da Prosperidade [Theologies of Prosperity] unfortunately had to be cancelled.

Teatro da Vertigem is a theater group whose trajectory began with their Biblical trilogy—O Paraíso Perdido [The Lost Paradise, 1992], O Livro de Jó [The Book of Job, 1995] and Apocalypse 1,11 (2000). Their plays and performances avoid conventional stages and opt instead for urban landscapes (streets, rivers) and buildings (churches, hospitals, prisons) inhabited by imponderable elements.

Lisette Lagnado

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