Scene from "O Bailado do Deus Morto", a show by Flávio de Carvalho, staged by Teatro Oficina. Photo: Igor Marotti

From Thursday (26/1) until Sunday, Teatro Sesc Pompeia will host O Bailado do Deus Morto, with the Workshop Theater. Directed by Marcelo Drummond, the four presentations mark the end of visits to the Flávio de Carvalho Experimental exhibition, in which curators Kiki Mazzucchelli and Pollyana Quintella focused on the multifaceted work of the artist, author of the show's original dramaturgy.

The play was written by Flávio de Carvalho in 1933 for the opening of Teatro da Experiência, a project for practice and presentations, in which theater was experienced as a scenic, architectural, human and dramaturgical experience. The space even hosted the premiere and a few presentations of the ballet, with its choir of black musicians from the newly born Vai-Vai samba school, wearing the aluminum masks designed by the artist himself. Pursued by the censorship, the Experience Theater was closed by the police after a few performances.

Teatro Oficina had already mounted the show on more than one occasion, such as at the 29th Bienal de São Paulo and at the Serrinha Art Festival in Bragança Paulista, both in 2010. In August 2019, the company was invited to stage it at the show Flávio de Carvalho – The ideal cannibal, at Almeida e Dale gallery. And in 2020, he was making presentations in his own space, interrupted with the onset of the pandemic.

That same year, the play even won an online version, which was on display for three seasons, between August 2020 and March 2021. In December 2021, the ballet once again had face-to-face presentations at Oficina, soon suspended by the wave of the omicron variant. At Sesc Pompeia, according to Marcelo Drummond, in relation to the most recent montage, in the second half of last year, at Oficina itself, only a few changes were necessary in the markings of the cast on stage.

Lasting only about an hour, the show mixes theater and dance, in which the cast wears aluminum masks and performs dynamic and ritualistic movements. According to Drummond, the instructions (rubrics) left by Carvalho for such movements were somewhat rigid and were adapted. “He instructed us to put our arms sometimes in a V, sometimes in an L, etc. We kept changing it, according to what we felt worked best, but using the same references”, he says.

Drummond also points out that they modified very little the 1933 text, in which “almost everything is sung”, but that the ballet do Oficina does not copy the original costumes and was almost entirely set to music, with a band on stage, “with a kind of mass-like face”.

“It's a mini-opera, it's not even an operetta, because it doesn't have a comic character. At the same time, it has a very strong plastic aspect, which brings it closer to an installation, a plastic arts performance, mixed with theater, all with a very different and beautiful look”, says Drummond.

The director also points out that the company started from Flávio de Carvalho's own diverse aesthetic proposals and brought them to the stage, instead of simply replicating him. “It wouldn't work. So, we worked on his work, seeking a dialogue with the theater that we do. After all, Oficina made a very strong reading of Modernism, this was ingrained in us, who came from another phase of its history. So, what we see is a contemporary show, because the bodies are contemporary”, he concludes.



The Ballet of the Dead God
From Thursday (26/1) to Sunday
With Teatro Oficina Uzyna Uzona
Sesc Pompeia Theater – R. Clélia, 93 – Água Branca, São Paulo (SP)
Hours: Thursday to Saturday, at 21:18; Sunday at XNUMXpm
Tickets: R$ 30 (full); BRL 15 (half); BRL 10 (full credential)
In-person sales at 17 pm; online, not link 


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