Along Nicky Silver’s Lines

Last Saturday (16), Green Module students of the SP Drama School – Education Centre for the Performing Arts attended the open reading of the text “Raised in Captivity” by American playwright Nicky Silver, selected to guide the School’s artistic and pedagogical actions this term. The event took place at the Institution’s Roosevelt headquarters and brought together not only the students, but also the School’s educational coordinator, Joaquim Gama, the coordinator of the Playwriting course, Marici Solomon, the journalist and theater critic Kil Abreu, the acting course coordinator Francisco Medeiros, and the theatre researcher and teacher of the lighting course, Antonio Duran.

Francisco Medeiros, Marici Solomon Kil Abreu and Antonio Duran discuss the text of Nicky Silver, 'Raised in Captivity' (Photo: SP School of Theatre / File)

“It was the first step, the first perceptions and the first incursion into the American playwright’s work, which has been selected to lead and inspire us. It was a powerful meeting, attended by the students of the eight courses and enriched with reflections by Marici, Kil Abreu, Francisco Medeiros and Antonio Duran, “said Joaquim Gama.

The project will move on with the Saturday (23) reading of another Nicky Silver text, “Pterodactyls,” from 9am to 1pm, also at the Roosevelt headquarters, once again with students of the Green Module.
Nicky Silver’s text was seen on the Brazilian stage in 2010, starring Marco Nanini and Mariana Lima, directed by Felipe Hirsch. A hit both with the public and with critics, it ran for over two years.


Text: Majo Levensteis
SP Drama School – Education Centre for the Performing Arts


Conference 2013: The Ways of Education

The teaching path aimed at by the Regular Courses of the SP Drama School – Education Centre for the Performing Arts this semester started to be trailed yesterday (29), with the conferences 2013. The week-long event will bring together the institution’s faculty, as well as guest teachers and researchers.

The morning’s first meeting discussed “Performative Theatre”, the guiding line of the Blue Module (morning classes), to which the School invited Leandro Geraldo da Silva Acacio, actor / performer, researcher and teacher, MA in Arts/Drama from the School of Fine Arts of the Federal University of Minas Gerais (UFMG), with a major in research on performance, theatricality and performative theater.

For the two hours of the meeting, we discussed several topics on performative theater and on how to work the genre. “It’s an innovative proposal. The School has been concerned with contemporary theater. These meetings, which take place before the beginning of classes and which bring together different points of view, demonstrate the seriousness and interest in furthering the issues,” says Acacio.

At the end, coordinators, teachers and guest artists were surprised by an kick-off intervention. “Blind”, a performance coordinated by Marcos Bulhões and Marcelo Denny, put the eminent artists of the Desvio Coletivo de Performance and Coletivo Pi dressed in social attire, blindfolded and completely covered in clay, walking slowly through the building.

After the surprise, in the afternoon, it was time to look at the Green Module (afternoon classes). With the title “The character on the line of time”, the conference’s next guest was the Portuguese playwright Jorge Louraço Figueira, who is a professor at the Escola Superior de Música e Artes do Espetáculo, a theater critic of the Público newspaper in Portugal, and author and translator of a number of plays. He also taught a Cultural Extension course at SP Drama School last year.

At the meeting, Louraço talked about the relationship between narrator, author, plot and action, the function of masks – in the broadest sense of the word – dialogue, and the “curve” of the narrative. He also quoted Fernando Pessoa, his countryman, calling attention to characteristics of his writings.

The performance "Cegos" (Blind) took the participants of the conference by surprise (Photo: SP Drama School Archives)

Ivam Cabral, the Institution’s artistic director, bursts with enthusiasm when he talks about the beginning of another school term. About the Blue Module, he says: “We may very well be the only institution in Brazil dedicated to in-depth studies of performative theater. Now is the time to systematize and make new proposals. “As for the Green Module, he notes: “It’s always a challenge to find something new in well established formats, but there is a vast universe of possibilities and it is fascinating to take a chance.”

According to Ivam, the talks are “key for us to gradually find our direction. They prod us on and make us reflect. It is an internal process that helps us design a consistent form of education.”

Discussions on the strategies to be used in the first term will go on today, and will include the topics: “The role of the artist educator in theatre teaching and in creative processes,” with the presence of Professor Maria Lucia Pupo, and “The Lipovetsky propositions,” with the writer and teacher Juremir Machado, which discusses the thought of the French philosopher.

Text: Felipe Del
SP Drama School – Education Centre for the Performing Arts

SP Drama School hosts debate on sexual diversity

In an unprecedented initiative, SP Drama School – Education Centre for the Performing Arts, an institution of the State Ministry of Culture, is hosting SP TransVisão – a Week of Trans Visibility. The event is sponsored by the School in a partnership with the Brazilian Bar Association’s Commission for Sexual Diversity and Struggle against Homophobia – São Paulo division (OAB – SP), the Coordination of Policies for Sexual Diversity of the Department of Justice and the Defense of Citizenship, the Office for Gender and Ethnic Groups, the Department of Culture, the Brazilian Association for Transgender (Abrat), the Brazilian Association of Trans Men (ABHT), Os Satyros Theatre Company, the Association of Artists Friends of the Park (Adaap), and the São Paulo State Government.

“Our goal with SP TransVisão is to create a new arena for the debate on tolerance and diversity, as these issues generate fascination, difference of opinions and, no need to mention, plenty of controversy. By hosting this event, we hope to open the eyes and hearts of São Paulo’s population on the trans culture and universe,” says Ivam ​​Cabral, artistic director of SP Drama School.

The program runs from Monday (28) to Friday (1st) featuring roundtable discussions, documentary screenings, exhibitions, stage plays and performances.

The opening night, Monday (28), will hold the Discussion Panel “P.E.G – Gender Expressions Project,” a dialogue on gender and sexuality, focusing on trans identities. The topic at hand is the difficulty faced by transsexuals and transvestites when entering the work market. Participants at the panel include the lawyer Fabiola Marques, from the Brazilian Bar Association, the actor, playwright, co-founder of Satyros and artistic director of SP Drama School, Ivam ​​Cabral; Marcia Rocha, of the Brazilian Association for Transgender (Abrat); Laura Prevato and Flavia Araujo, from the SP Drama School staff.

On Tuesday (29), cartoonist Laertes, who since 2009 has adopted a cross-dressing lifestyle by dressing in women’s clothes and accessories, launches at 7pm an exhibition on his comic trans character Muriel at the SP Drama School hall. The exhibition, “Visible Muriel,” goes on until Friday (1st) open for public visitation from 9am to 9pm.

The event carries on on Wednesday (30), with the screening of the documentary “Who’s Afraid of Cris Negrão?” (Brazil, 2012, 25 min). Directed by Rene Guerra, the film tells the story of Cristiane Jordan, or Cris Negrão, a transvestite madam in downtown São Paulo, known for her violent methods. Hated and feared, but also admired by a number of fans, Cris was tragically murdered in September 2007. From this starting point, the short film proposes an incursion into São Paulo’s underworld, gathering testimonies from people who lived with Cris Negrão, such as the legendary cross-dresser Phedra D. Córdoba (from the Cia. Os Satyros), Divina Núbia, Thalia Bombinha, Greta Star and Roberta Gretchen. After the screening, a chat is scheduled with the film’s crew and cast.

On Thursday (31) 9pm, Espaço dos Satyros One will present a special performance of “Hell on a Belgian Landscape”, a new production of Os Satyros Theatre Company. Directed by Rodolfo García Vázquez. Actors Ivam ​​Cabral, Robson CatalunhaHenrique Mello and Tiago Capela Zanotta dive into the poetry of Paul Verlaine and Arthur Rimbaud to tell the story of the relationship between the two French poets in early 19th century Europe. The play aims to associate the work of the poets with a contemporary sensibility, using the influence of bands like The Doors, Joy Division, and artists such as Marina Abramovic. After the play, the public is invited to a debate with the cast and director, featuring Cassius Rodrigo from the Office of Culture for Genders and Ethnic Groups, a division of the State Department of Culture.

On Friday (1st), “Free Territory” will close the program with performances by Brenda Oliver and Kimberly Luciana, members of the SP Drama School staff, and Rafael Mendes, Dani Glamour and Phedra D. Cordoba. Ivam Cabral will discuss SP Drama School’s initiative to include trans employees in its staff.



Event: SP TransVisão – Week of Trans Visibility

When: From Monday (28) to Friday (1st), 7pm

Where: SP Drama School – Education Centre for the Performing Arts

Roosevelt Square, 210 – Consolação

Tel. (11) 3775-8600


Play: “Inferno na Paisagem Belga”

Thursday (31), 9pm

Where: Espaço dos Satyros One

Roosevelt Square, 214 – Consolação

Tel.(11) 3258-6345


Every event in the program has free admission.


Text: Majô Levenstein

SP Drama School Welcomes the Hemispheric Institute

Scheduled to open tomorrow (12) at 10am, at SESC Vila Mariana in São Paulo, the 8th Meeting of the Hemispheric Institute of Performance and Politics is sponsored by the Hemispheric Institute of New York University. The event, held jointly by the American Institute, SESC, SP Drama School – Education Centre for the Performing Arts and ECA-USP’s Drama Department, will go on until 19 January with national and international stage plays, visual arts (exhibitions), dance performances, urban interventions, lectures, round tables, work groups and academic debates with artists, activists and students from a number of countries in the Americas, not to mention plenty, plenty of performance. All this was created and designed around the theme “City / Body / Action – The Politics of Passion in the Americas.” Click here to check the full schedule and here to download the event’s brochure.

Usually made up of short scenes, based on avant-garde principles, these performances will be focused at the Roosevelt headquarters of the SP Drama School, everyday from 9pm to 1am. The program, titled “Trasnocheo,” is restricted to the event participants, who should make their prior registration here, which will enabled them to take part in the meeting’s round tables, lectures and workshops. Registration can be made online or at the festival opening, from 10am, at SESC Vila Mariana (Rua Pelotas, 141 – Vila Mariana – tel. 5080-3000). Deadline is tomorrow (12). Participation comes to R$200 (full price); R$100 (registered SESC users and dependents, senior citizens, students and public school teachers) and R$50 (workers in the trade of goods, services and tourism duly enrolled and their dependents).

The general public will have free access to the exhibitions and facilities, which will open on Saturday (12) at SESC Vila Mariana and SP Drama School Roosevelt headquarters (Roosevelt Square, 210 – Consolação – tel. 3775-8600). SESC will show “Drying Process” by Oscar Figueroa (Costa Rica), “Complexo do Alemão” by Paul Climachauska (Brazil), and “A Journey With no Passport Retrospective”, by the collective A Journey With no Passport (Brazil). At SP Drama School, visitation will be open to the installation “Ruins under Construction”, by Ricardo Barcellos (Brazil).

Still on Saturday (12), SESC Vila Mariana will show performances open to the public, such as “Slow Fall”, with the American artist Abigail Levine, at 11am at the Outdoors Square; “Paperwork: Department of Dreams, Hopes and Fears,” with the American artist LM Bogard, at 12pm, at the Events Square, and “Unloading” with the Brazilian artist Andrea Soraes, at 1:30pm, at the Events Square.

“Quedas Lentas” (Slow Fall), with the American artist Abigail Levine (Photo: PR)

This is the third edition of the meeting in Brazil – the first in São Paulo – bringing first-time attractions to the country, such as the shows “Tightrope – A Theatrical Song Cycle for the Forgotten” with the Canadian group , “The Spoken World” with the American artist Marc Bamuthi Joseph, and ” Um Ser Dicho, Para Ser El Nombre” with the Chilean Gonzalo Rabanal. Also present are the performances by Maria José Contreras Lorenzini, Chile, entitled “Santiasco: Grafted Urban Memories / Santiasco: Injerto de Memórias Urbanas”; Nicolás Dumit Estévez from Costa Rica, “Mientras Más Bailo (Pieza Duracional) / The more I Dance (A Long Play)”, four hours long, and Regina José Galindo, from Guatemala, “Piedra / Stone”.

Among the national attractions, especial mention to the plays “Luis Antonio – Gabriela”, with Cia. Mungunzá; “Orpheus Mestizo: A Brazilian Hip-Hopera”, with the Núcleo Bartolomeu de Depoimentos; “Bom Retiro 958 metros” with the Teatro da Vertigem, and also the performances ““Onde? Ação nº 2”, with the Tribo de Atuadores Ói Nóis Here Traveiz;” Des_fios “with the artist Simone Mina, and “Voices in Transit: Fragments and Simultaneities,” with Wânia Storolli.

And on Friday (18), the eve of the meeting’s closing, urban interventions will take place at the Roosevelt Square and other Sao Paulo streets. Among the performances are scheduled: “Joy and Elegy: Roosevelt Square Samba School Coming Through!” with Carla Melo, Brazilian artist based in the United States; “Rise of the Chairs” with Colectivo Extremovacio, from Mexico; “Blind” with Desvio Coletivo & Coletivo Pi, from Brazil, and “Model Behavior,” with the American artist Sheryl Oring.

“It is with immense joy that SP Drama School starts the year hosting an event of this magnitude. SP Drama School remains generous in its programming and in its proposal to think the urban space through art. We are very happy and look forward to this meeting,” said Ivam ​​Cabral, the CEO of SP Drama School.


About the Hemispheric Institute

Founded in 1998 by teachers Diana Taylor (New York University), Zeca Ligiéro (Universidade Federal do Rio de Janeiro), Javier Serna (Universidad Autónoma de Nuevo León, Mexico) and Luis Peirano (Pontifícia Universidade Católica of Peru), the Hemispheric Institute is a multilingual and interdisciplinary network of institutions, artists, scholars and political activists in the Americas. Working at the intersection of the academic world, artistic expression and politics, the Institute fosters collaboration to explore the practices of the body – performance – as a vehicle for the creation of new meanings and the transmission of cultural values, memory and identity.

The Institute, with a geographic focus on the Americas, fosters the interaction of people interested in the relationship between performance and politics in the continent.


Text: Majô Levenstein

A Show of Clowns and Buffoons

Torresmo bringing Padre Rodigo to life (Photo: Archive SP Drama School)

Padre Rodigo and his team were the centre of attention at the Roosevelt Headquarters of SP Drama School – Training Centre for the Performing Arts, on the 26, during Cabarezim, an event promoted by the students of Humor, which presented several comical scenes to a sold out audience.

In addition to this buffoon character played by the student Caique Torresmo, creator of the project, five clown scenes had the audience “in stitches”, with the clowns in the flesh of the humor students Emiliano Bicalho Favacho, Cristiano Carvalho, Alexandre Zampieri and Thais Oliveira, from Acting. The show’s MC was Thainan Fresneda, and the stage managers were the clowns Carolipa (Carolyn Ferreira) and Bartô (Cristiano Carvalho), all Homor students.

Each participant used different techniques and languages, with a variety of scene concepts. Between a performance and the next, the clown assistants interacted with the MC, as they improvised micro scenes before presenting the next number. Torresmo was happy with the diversity observed in the program: “The clowns are very different, as each develops his “being” from their own experience, their own life story since childhood. Padre Rodigo, for example, is a buffoon who seeks acid laughter, exposing the corruption of the being,” he comments.

Still, the student insists on saying that there’s still much to improve, after all, that is one of the goals of Cabarezim. “Our goal is not to have a closed format, but rather, to be open to all possibilities, new adjustments and, fortunately, new mistakes. A public performance is just one phase in this process, to help us understand how people react,” says Torresmo.

Cristiano Carvalho and Thainan Freneda (Photo: Archive SP Drama School)


Happy and proud to see that the first steps have been taken, the student wants to go on taking chances and inviting everyone to do the same. According to him, there already are projects for Cabarezim to do performances outside of school.

Let’s not forget that the MC function will be rotated. For every edition, a new MC will be selected. Anyone up to the challenge?




Text: Felipe Del

SP Drama School – Training Centre for the Performing Arts

Roosevelt Square Seduces Argentines

The New Roosevelt Square: opening tomorrow (29)

3, 2, 1… In less than 24 hours, Roosevelt Square will reopen, this Saturday (29), bringing a fresh air to downtown São Paulo. The renovation cost R$ 55 million and included the structural recovery of an area of 19 thousand m².

The renovation started in 2010 in an attempt to revitalize the place, which had gone into decline since the mid-90’s, after its glory days. So, up to the early 21st century, the region was known as a spot for drug users and hoodlums. With the renovation, City Hall aims to change the negative image the region had.

However, much before the work started, the square lived a first breath of revitalization with the arrival of the theatre company Os Satyros, who opened their headquarters there in 2000. After them, other companies also decided to set up in the vicinities, turning the place into a theatrical hub for the city.

So great was the contribution of  Ivam Cabral and Rodolfo García Vázquez’s company, that the Argentinean newspaper La Nacion dedicated a whole article to the renovation of Roosevelt Square, never forgetting to credit its pioneers: The Satyros.

Click here to read the original text. See below the english translation by Fernanda Sampaio:

“A São Paulo Model for a Buenos Aires Initiative, by Leonardo Tarifeño

An example could be São Paulo. More precisely Roosevelt Square, located between Consolação and Augusta streets, right in the middle of the Brazilian megalopolis. Designed in the late 60’s as a part of a large cultural project, Roosevelt square became the centre of a political debate and, for that reason, it never fulfilled the dream for which it had been planned. In fact, the back and forth of budget decisions and of architectural and conceptual designs ended up removing it from its original function. According to Paulo Mendes da Rocha, then President of the Institute of the Architects of Brazil, São Paulo division, the square was then a good example of everything a square shouldn’t be. Unfinished bridges, fragile structures and solid cement confirmed Mendes da Rocha’s notion and opened the door for greater degradation, reflected in a large heap of sadness and concrete.

In the late 90’s, Roosevelt Square lived its period of decline. The neighborhood that had been the heaven of bohemians (the corridor from traditional Cine Bijou to Djalma’s bar, where iconic singer Elis Regina had her first show in São Paulo), had changed altogether. The abandoned bridges became the perfect hide-out for criminals, drug dealers and homeless children. For years, Roosevelt competed with Crackolândia, the place where crack addicts wander and which is known as the most violent and dangerous region in the city. In the beginning of the 21st century, artists from the Satyros group arrived to get settled in the several buildings that line the square. The Satyros changed the place into an open, popular and avant-garde theatre. Their proposal was so daring, that the neighbors slowly started to feel again the pride to live in a district that had been synonymous of urban failure. Bohemians and artists from other regions showed up at the square to see the group. A German playwright wrote a play about the district’s daily life. The Gay Parade was the final stop of her research. Small and large entrepreneurs got excited and started to invest in the surrounding areas, with specialized stores, bars, bookshops and artistic events linked to the theatre.

In addition to the theatre, The Satyros opened a bar on the square and started promoting artistic events called Satyrianas, for which spectators paid what they could to see the shows. Today, thanks to these pioneering actions, Roosevelt Square is consecrated as one of the city’s great cultural hubs. São Paulo has recovered its focus on the economic activity and the neighbors feel that the street has become an asset which should by no means be abandoned or left in the lazy hands of politicians or social outsiders.

Maybe the Roosevelt Square example can be a mirror for the sort of initiative that proposes the opening of bars and services on the squares of Buenos Aires. Public space is a place for co-habitation, which is conquered through sharing. The neighborhood is the home, the communal extension of the house and the square’s landscape functions as a setting for education and meeting, which no city can afford to discard.

In the case of Buenos Aires, the metamorphosis that goes from the square (to which it circulates) to the democratic setting (that lives) is in the hands of the representatives of the political class. Time will tell if they will rise to the challenge to live the artistic experience that made history in São Paulo.”


* This text was published on september 28 (

Praça Roosevelt Seduz Argentinos

A nova Praça Roosevelt: inauguração será amanhã (29)

3, 2, 1… Faltam menos de 24 horas para que a Praça Roosevelt seja reinaugurada, neste sábado (29), dando novos ares ao Centro de São Paulo. As obras tiveram um custo de R$ 55 milhões e incluíram a recuperação estrutural de uma área de 19 mil m².

A restauração começou em 2010, na tentativa de ajudar a revitalizar o local, que entrou em decadência em meados dos anos 90, depois de um período de glória. Assim, até o início do século 21 a região era conhecida como ponto de usuários de drogas e marginais. Com a reforma, a prefeitura quer livrar a imagem negativa que a praça tinha.Mas bem antes de as obras começarem, a praça conheceu seu primeiro sopro de revitalização com a chegada da companhia de teatro Os Satyros, que inaugurou sua sede ali em 2000. Depois do grupo, outros também resolveram se fixar nas redondezas, transformando o lugar em nicho teatral da capital paulista.Tamanha foi a contribuição da companhia de Ivam Cabral e Rodolfo García Vázquez, que o jornal argentino La Nacion dedicou um artigo inteiro à revitalização da Praça Roosevelt, não se esquecendo de dar crédito a seus pioneiros: Os Satyros.Clique aqui para ler o texto original. Abaixo, sua tradução para o português, assinada por Cibele Custódio:

“Um Modelo Paulista para iniciativa Portenha

Por Leonardo Tarifeño

Um exemplo podia ser São Paulo. Mais precisamente a Praça Roosevelt, localizada entre as Ruas Consolação e Augusta, no centro da megalópole brasileira. Projetada no final dos anos 60, como parte de um grande projeto cultural, a Roosevelt tornou-se o centro de disputas políticas e, por isso, nunca chegou a concretizar o sonho para o qual foi planejada. De fato, as idas e vindas orçamentárias, arquitetônicas e conceituais terminaram por desligá-la de sua função original, que, segundo Paulo Mendes da Rocha, então Presidente da sede Paulista do Instituto de Arquitetos do Brasil, apresentava um bom exemplo de tudo o que não poderia ter em uma praça. Pontes inacabadas, estruturas frágeis e um cimento sólido confirmavam a ideia de Mendes da Rocha e abriram a porta para uma maior degradação, refletida em um grande amontoado de tristeza e concreto.

No final dos anos 90, a Praça Roosevelt viveu sua época de declínio. O bairro, que antes havia sido o paraíso da boemia (o corredor que ía do Cine Bijou ao bar Djalma’s, onde Elis Regina fez seu primeiro show em São Paulo), transformou-se. As pontes abandonadas se tornaram refúgio perfeito para criminosos, traficantes de drogas e crianças de rua. Durante anos, a Roosevelt competiu com a Crackolândia, o lugar onde perambulam os viciados em crack e é conhecido como a zona mais violenta e perigosa da cidade. No início do século 21 chegaram os artistas do grupo Os Satyros, que se instalaram em um dos vários edifícios em frente à praça. Os Satyros transformaram o local em um teatro aberto, popular e vanguardista. Sua proposta foi tão ousada, que, aos poucos, os vizinhos começaram a sentir, novamente, um forte orgulho por viver em um bairro que era sinônimo de fracasso urbano. Boêmios e artistas de outros bairros apareciam na praça para ver o grupo. Uma dramaturga alemã escreveu uma peça sobre a vida cotidiana do bairro. O desfile da Parada Gay foi o ponto final de sua pesquisa. Pequenos e grandes empresários se entusiasmaram e começaram a investir nos arredores, com lojas especializadas, bares, livraria e eventos artísticos ligados ao teatro.

Além do teatro, Os Satyros abriu um bar na praça e passou a promover um grande evento artístico, chamado Satyrianas, em que os espectadores pagavam o que podiam para ver os espetáculos. Hoje, graças a essas ações pioneiras, a Praça Roosevelt se consagrou como um dos grandes pólos culturais da cidade. São Paulo recuperou o foco de atividade econômica e os vizinhos sentem que a rua se tornou um patrimônio e que de nenhuma maneira deve ser abandonada nas mãos preguiçosas de políticos ou da marginalidade social.

Talvez o exemplo da Praça Roosevelt sirva como um espelho para a iniciativa que propõe instalar bares e serviços nas praças Portenhas. O espaço público é um lugar de convivência, que se ganha através do compartilhamento. O bairro é o lar, a extensão comunitária da casa e essa paisagem da praça funciona como um cenário de formação e encontro, que nenhuma cidade pode se dar ao luxo de desprezar.

No caso de Buenos Aires, a metamorfose que vai da praça (para o qual ela circula) ao cenário democrático (que vive) fica por conta dos representantes da classe política. O tempo dirá se eles estarão à altura de viver a experiência artística que fez história em São Paulo.”


* Texto publicado em 28 de setembro (

Aprendiz em Foco: Antonio Peredo

Antonio Peredo (Foto: SP Escola de Teatro)

Fim de mais um dia de aula. Em vez de ir embora, o boliviano Antonio Peredo faz um caminho diferente: cruza a sala de cortinas negras do teatro, que fica no primeiro andar e sobe até a Sala Verde da Sede Roosevelt da SP Escola de Teatro – Centro de Formação das Artes do Palco. “Eu estava acompanhando as aulas do curso de Direção”, conta, lentamente. “É a sua primeira estada no Brasil?”, pergunto. “Sim”, ele responde. “E o que está achando daqui?”, questiono. “São Paulo é muito grande”, sorri.

Peredo saiu de Santa Cruz de La Sierra, na Bolívia, e desembarcou na capital paulista na semana passada. Junto com ele, os aprendizes Nádia Verdum e Éric Moura, do Curso de Atuação, voltaram para casa depois de dois meses na Escuela Nacional de Teatro de Santa Cruz de La Sierra. “Vi que os dois vão sentir saudades de todos lá. Eles fizeram muitos amigos. Além do aprendizado, as relações pessoais foram muito importantes”, revelou.

Ele é ator, diretor e professor de biodinâmica na escola boliviana. “E, quando me sobra tempo, escrevo alguns textos para teatro”, acrescentou Peredo. Sua vinda para o Brasil faz parte da parceria entre a Escuela Nacional de Teatro, criada e dirigida por Marcos Malavia, e a SP Escola de Teatro, que promove intercâmbios entre os alunos e professores das duas instituições. “Vou assistir às aulas de todos os cursos e acompanhar os núcleos. Também quero criar contato com os artistas daqui”, disse.

E o que impressionou mesmo o boliviano foi a efervescência de espetáculos em São Paulo. “Só aqui na Praça Roosevelt são apresentados mais espetáculos do que em Santa Cruz”, contou. “Talvez seja essa a maior dificuldade para as artes na Bolívia: a falta de incentivo de todos os lados. De toda forma, sei que ser um ator ou diretor não é fácil; existem dificuldades aqui, na Bolívia e em qualquer lugar. Mas acredito que um obstáculo traz mais criatividade e magia ao nosso trabalho”, arrematou Peredo, que fica no Brasil até 1º de novembro, quando finda o intercâmbio e ele embarcará de volta à Bolívia.


* Texto publicado em 21 de setembro (

The Learner in Focus: Antonio Peredo

Antonio Peredo (Photo: SP Escola de Teatro)

It’s the end of another school day. Instead of going home, Bolivian Antonio Peredo takes a different path: he crosses the theatre’s black curtained room on the first floor and goes up to the Green Room at the Roosevelt Headquarters of the SP Drama School – Training Centre for Performing Arts. “I was watching the classes at the Directing course,” he says slowly. “Is this your first stay in Brazil?” I ask. “Yes,” he answers. “What are your impressions?” I ask. “São Paulo is very large,” he smiles.

Peredo left Santa Cruz de La Sierra, in Bolivia, and landed in São Paulo last week. At his side, students Nádia Verdum and Éric Moura, from the Acting Course, came back home after two months at the Escuela Nacional de Teatro of Santa Cruz de La Sierra. “I know the two of them will miss everybody there. They made many friends. In addition to the learning, personal relations were very important,” he said.

He is an actor, director and biodynamics teacher at the Bolivian school. “When I have some free time, I do a bit of playwriting,” added Peredo. His coming to Brazil was part of the partnership between the Escuela Nacional de Teatro, created and directed by Marcos Malavia, and SP Drama School, which promotes exchange programs among students and teachers of the two institutions. “I will watch classes from every course and follow the nuclei. I also want to make contact with local actors,” he said.

What really impressed the Bolivian was the sparkle of the shows he saw in São Paulo. “At Roosevelt Square alone, more shows are staged than in all of Santa Cruz”, he mentioned. “Maybe that’s the greatest challenge for the arts in Bolivia: the lack of incentive everywhere. In any event, I know it isn’t easy to be an actor or director, be it here, in Bolivia or anywhere else, but I do believe that barriers bring greater creativity and magic to our work,” he finished. Peredo will be n Brazil until November 1st, when the exchange program will be over and he will return to Bolivia.


* This text was published on september 21 (

No Primeiro Dia, Criou o Vermelho

Controle social, teatro do absurdo, sonhos e imaginação. Cada sala da Sede da Praça Roosevelt da SP Escola de Teatro – Centro de Formação das Artes do Palco foi agitada pelas ideias dos aprendizes do Módulo Vermelho. Ontem, (5), os nove núcleos apresentaram seus projetos cênicos, assistidos pelo formadores.

Essa ação faz parte do processo que se iniciou no último mês, durante o qual cada grupo dialogou com um pensador, num encontro promovido aqui na Escola. Sob a epígrafe “O mundo é formado não apenas pelo que já existe, mas pelo que pode efetivamente existir”, do geógrafo Milton Santos, os nove grupos foram provocados em nove temas. Entre os convidados daquela ocasião, estavam Luiz Fuganti, de antropologia; Guto Lacaz, de artes visuais; Aimar Labaki, de comunicação; Patricia Nakayama, de filosofia; André Martin, de geopolítica; Ladislau Dowbor, de meio ambiente; Celso Nascimento, de música; Sergio Zlotnic, de psicanálise, e Cláudio Novaes Pinto, de sociologia. Depois, os núcleos partiram desses temas e organizaram as primeiras ideias, expostas ontem.

A epígrafe de Milton Santos foi a disparadora do diálogo entre os núcleos e o pensador (Foto: Arquivo SP Escola de Teatro)

“Esse encontro foi a explanação das pesquisas dos núcleos. Os formadores trouxeram novas provocações para delinear o estágio atual e as próximas ações”, contou o coordenador pedagógico Joaquim Gama.

O diretor executivo Ivam Cabral animou-se com o momento: “Acredito que este seja o instante mais importante. Definir esses projetos indica qual será o futuro deles. É o momento mais prazeroso pra todos nós, porque revela o olhar estético dos aprendizes e o quão mágico se torna esse movimento. Para mim, essa etapa tem mais valor que o resultado final, ainda que eles sempre nos surpreendam no final”, disse Ivam.


* Notícia publicada em 06/09/2012 (