The transposition wounds same itself, but it does not have its focus in the cicatrizao, the inflamed secretions yes, are its object of research. Cenogrficos ridges: for a cenografia of refluxo In what it refers to a proposal cenogrfica contaminated by the theory of the transposition, I think about a construction that is fruit of the fidgets that had reached the actor some processes of maceration and decantation. I think about scenes and scenic accessories, whose relation if gives for the corporal trespass unchaining constructions and environments of aesthetic provoked by refluxo. The scene must dye mago the actor. It must be sgnico however pendular, whose movement of gone and comings, disturb the actor in scene compelling to react and to unchain an intense process with the auditorium. The scene more does not reflect ambient history or concepts and yes everything what the actor vomited in its research of transposition.A scene that if it soon transforms to of the alive spectacle and a process also throughout one season.
Mobile, malleable, mutant and deeply inquietante a scene for the actor and the public. It must be constructed on creative ridges, disturbing and visceral. Conclusion an actor stops exactly beyond itself, that it sees the process creative to exceed the limits technician and cognitivos of its body refluxo stops later devastador atingiz it in one, intense and decanted it is the principle that guides this work all, as well as, has guided my fidgets in the field of the theater already has time sufficiently. At last, such reflections that now sketch in this article are only one first escoadouro, little academic, however deeply convicto of being an attempt of clarear my reflections in the search of a theater that does not allow me to be in peace.