WHEN MONOLOGUES SPEAK WITHOUT WORDS
Impressions of those who saw the first presentations of the theater project Manufatura de Monólogos, featuring artists and playwrights of the Santos region
BODIES DRESSED IN KNOWLEDGE AND MEANINGFUL SILENCES
Formative activity debates orature, the poetic form manifested through the body and voice, featured in the play Preto
A TRIP, FOR THE RESILIENT, THROUGH THE (RE)CONSTRUCTION OF MEMORY IN PORTUGAL
Actress, playwright and theater director Joana Craveiro gathers a collection comprised mainly of personal experiences and past accounts of the dictatorship and revolution in Portugal.
A WARNING SHOUT TO LEAVE OUR FOOLISH WAYS BEHIND
The longest performance of Mirada 2018 unveils the horrors of the Salazar dictatorship and criticizes Portuguese society for trying to erase these memories.
the poetics of the black body
The dancers of the Corporação Cultural Afro-Colombiana Sankofa and the Brazilians of Cia. Sansacroma join together for an artistic experience regarding the poetic forms of the black body
DELIRIOUS UTOPIA OR OUR EVERYDAY ROUTINE?
People who were drifting through life left their homes to see the Automákina performance. Here’s the result
THE POWER OF ONE WORD
Mirada’s formative activity debates colonialism, a subject featured in three of the festival’s performances
WE NEED TO TALK TO OUR KIDS
Grupo XIX de Teatro makes its first incursion into children’s theater discussing intolerance and bullying. Where does it come from, after all?
How we deal with our own pet hypocrisy
IN THE NAME OF THE FATHER, THE SON, AND ESPECIALLY THE THEATER
Colombian group Chakana Teatro uses the life of its director and actor Ariel Muñoz to discuss the ghosts of our fathers and the search for identity. Chancho transcends the figure of the self and takes on a bold narrative
A LOOK AT THE FORMATIVE ACTIVITIES
Voices, urgencies and memories are the pillars of the formative activities in this edition of the festival
THE DELICACY OF REBIRTHS
In “Funeral para a ideia de um homem”, a group of young artists on stage develop their own finitude supported by dancing and circus techniques. A review by amilton de azevedo
THE DOCUMENTAL MATERIAL QUALITY OF THE INVISIBLE ONES
A Living Museum of Small, Forgotten and Unwanted Memories leads the audience through a vast collection of Portuguese history. A review by amilton de azevedo
CAMERA IN HAND, YOUNG PEOPLE FROM INSTITUTO QUERÔ RECORD FORMATIVE ACTIVITIES
Founded in 2006, Instituto Querô was created after the homonymous film directed by Carlos Cortez. Now, with curious eyes and interested questions, they offer the festival audience rich, instigating material.
Seeking One's Face
In its nationwide premiere, Corpos Opacos still doesn’t fully establish the solidity of research surrounding the seclusion of nuns and its contrast with the strength of modern-day feminism as a language. A review by Valmir Santos
THE SONG OF EXILE AND THE BRAZILIAN TIME
Grupo Ponto de Partida (MG) welcomes the Uruguayans of Teatro El Galpón with an affirmation of humanism that balances historical objectivity and the subjectivity of affections and solidarity in 'Vou Voltar'. A review by Valmir Santos
Colombian Utopias And Dystopias, With Irony And Unusual Sceneries
Violence is a recurring theme in the spectacles of the honored country of Mirada 2018
Nine Can't Miss Events at Mirada 2018
For you in Santos, on the southern coast of Sao Paulo or planning to spend a few days in the Baixada, an important message: the fifth edition of the Ibero-American Festival of Performing Arts lands with 41 shows for the next 10 days
House of Awareness (Or Harvesting the Seeds of Death)
In constructing a proper and fantastic logic about the relation between victim and tormentor, Colombian spectacle 'Labio de Liebre' dialogues with the historical reality of Latin America
Much Ado About Some Empathy
The places of speech bring Peru to Mirada 2018 with a classic of Shakespeare
The Present Haunted By The Past, And Vice Versa
The dramaturgy of Labio de Liebre, by the Colombian group Teatro Petra, is permeated with images common to reports of truth commissions. The metaphysical structure alludes to brutal forms of violence under a perpetual sense of unreality that engenders estrangement at all levels
Welcome to the Forest that Seems Real
The 'Topografías: Utopías y Distopías', in the area of coexistence of Sesc Santos, proposes a walk through a jungle 'made in China'
Understand the Political Situation in Nicaragua, which Makes its Mirada Debut
Polarized atmosphere is the backdrop for violent conflict, says journalist Jon Lee Anderson
Performance Offers a Candid Look at the Barriers Between Bodies
With striking visuals, 'Topologías Para Cuerpos Infinitamente Inconquistables' presents the strength and the fragility in the encounter with the other
Let Ponto Digital Keep You Up-To-Date
We are 18 editors of text, images and videos. We are accompanied by critics from all over Brazil. Let us record the private looks about the spectacles and everything that happens in the coxias, the tables of sound, of light and of food, in the meetings and disagreements between public and artists
A history of resistance and love of art
The city of Santos, Brazil has had a history of performing arts since the time of Dom Pedro I. The oldest records date from 1830, when the first presentations were held in a dilapidated building in the city center, lit with candles and olive oil lamps. Chairs were carried to the location by slaves. Our history has some inconvenient truths.