Dates and times
From 07/09 to 14/09
10 p.m.
10 p.m.
10 p.m.
Inspired by the conversations that happen at the pub after a play, the action proposes an informal environment to discuss the works featured at the festival. A group of professional theater critics lively conducts the meetings, which will address the shows from the day before. They aim to connect the productions, understand movements, trends, recurrences, and singularities, as well as talk about theater drawing from the curatorial designs of the program. The final conversation, on 9.14, will be accompanied by a samba performance conducted by the collective É Samba que Eles Querem, Eu Tenho.
Featuring Fernando Pivotto, Amilton Azevedo, Guilherme Diniz, Fredda Amorim and Heloisa Sousa.
Fernando Pivotto is a performing artist, educator and critic. He holds a teaching and a bachelor’s degree in theater and a specialist degree in cultural management. He has been writing about theater since 2015 and has worked with Revista Antro Positivo and the website Aplauso Brasil. In 2019, he founded Tudo, Menos Uma Crítica, where he is dedicated to writing reflective articles that are anything but criticism. He has writings published in books and has been invited to write and/or moderate conversations for programs of SP Escola de Teatro and Itaú Cultural, and others. He has taught criticism workshops and proposed and coordinated the discussion cycle Crítica Isolada, about critical production during the first year of social distancing due to COVID-19, and the program Ponto de Encontro, in São Paulo’s district theaters, both in partnership with amilton de azevedo. He has been mediating and overseeing educational programs for museums and exhibition spaces for more than ten years, and is a member of the IATC.
Amilton de Azevedo is an artist researcher, critic, and theater professor. He is pursuing a doctoral degree from the Performing Arts graduate program of the School of Communications and Arts of the University of São Paulo. He holds a master’s degree in Performing Arts, a specialist degree in theater direction, and a bachelor’s degree in theater from the Célia Helena Center for Arts and Education, where he was a professor between 2016 and 2019. He conceived the platform ruína acesa, where he was an editor and critic, and has also written articles for Folha de S.Paulo. He is a collaborator at festivals including MIRADA and MITsp, and teaches theater criticism training workshops. He is a member of the Brazilian section of the IACT/AICT (International Association of Theater Critics) and a public relations and communications collaborator for the IATL (International Association of Theater Leaders).
Guilherme Diniz is a researcher, theater critic, and curator. He holds a teaching degree in theater from the Fine Arts School of the Federal University of Minas Gerais (EBA/UFMG) and a master’s degree in literary studies from the Language and Literature School of the same university (FALE/UFMG), and was the artistic director of the Geraldina Campos de Almeida Municipal Theater in Pará de Minas (MG). As a critic, he has covered different theater festivals and exhibitions across the country, including the 1st Online Black Theater Festival of the UFMG (BH), Janela de Dramaturgia (BH), Segunda Black (RJ), MIRADA—Ibero-American Performing Arts Festival (SP), and MITsp (SP). He is a member of the IACT—International Association of Theater Critics, and is currently the editor of the website Horizonte da Cena.
Fredda Amorim is an actress, professor, and performing artist. She is politically and socially engaged in spaces that allow the meeting and existence of Black, travesti, transviado, and trans-masculine bodies, including the collective MICA, the platform Queerlombos, and Academia Transliteraria. She is also a cultural and art producer. She identifies as a Black travesti of Axé (African-Brazilian faith) moving around the world and connecting with the arts, performance, urban interventions, theater, poetics, creative processes, and gender performativity. She has been dedicated to research, actions, and practices focused on gender and race issues, and is the author of the book CORPA MONSTRA NA CENA CONTEMPORÂNEA, published by Escola Cidadã.
Heloisa Sousa is an artist and researcher of performing arts. Born and raised in Natal, she holds a doctoral degree in arts from the USP, a master’s degree in performing arts from the UFRN, and a teaching degree in theater from the same institution. She has conducted academic research on fields including costume design, performing visualities, and performativity since 2012. She also works as a theater director, assistant director, set designer/costume designer, and has collaborated with important groups including Cruor Arte Contemporânea, Sociedade T, Teatro das Cabras, Tercer Abstracto, Coletivo de Teatro Dodecafônico, and Cia. da Não Ficção. She has also written theater, dance, and performance reviews for Farofa Crítica since 2016, and is one of its cofounding editors. She is also a member of the Brazilian section of the International Association of Theater Critics.
É Samba que Eles Querem Eu Tenho is a project that was born in the childhood backyard of a very close group, which then evolved to X9, where they found their true identity. Now, with Samba de Malandro, they celebrate the essence of samba with the energy and malandragem embodied by Seu Zé, but with a modern touch that appreciates hard work and good company.
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