PEOPLE INVOLVED IN THE PROCESS:

Alessandra Queiroz, Bruno Miotto, Clayton Lima, Fabiana Ribeiro, Flávia Ulhôa, Gabriela Jeniffer, Giovanna Perasso, Gustava A. Amat, Lucas Vasconcelos, Márcio Medina, Maria Tereza Urias, Martha Guijarro, Rafael Graciola, Renata Adrianna, Suelen Moreira, Thiago Reis Vasconcelos, Zernesto Pessoa. 

Audio Transcribed

Z. Z Experience Number 1 is a theatrical-performative event by Antropofágica, connected to our project Barbatanas, which explores the relationship between creativity and social production and reproduction. 

And why Z? Z is a letter that signifies a boundary, a frontier. 

It marks a point that defines a beginning, another beginning, or an end. Therefore, thinking about this unknown also means seeing Z as a kind of generative word—one that is in motion, continuously reappearing thematically throughout the creative process. 

This creation is deeply integrated with our investigation of art and society, in the sense that this research seeks to understand, through artistic mechanisms and artistic praxis, the relationships between how we produce life and how, from life’s production, we generate what we broadly and openly call creativity. 

So, Z Experience Number 1 will be a theatrical performance in which we present to the audience a kind of drift—peripatetic—a movement, a journey through society and creativity. 

Bio:

Antropofágica is a theater group from São Paulo founded in 2002. With 27 permanent members, its trajectory is rooted in the spirit of the Manifesto Antropofágico (Anthropophagic Manifesto). Its more than 20 productions reflect a pursuit of contemporary Brazilian theatricality, exploring the creative possibilities that arise from the tension between political theater, the cultural industry, and avant-garde aesthetics.

The group navigates diverse artistic forms, seeking to assimilate, like the anthropophagus, the virtues of what it devours. In this process, it engages with national and international references—both scholarly and popular—drawing from mass culture, cinema, music, poetry, and visual arts. The result is a hybrid theatrical language, marked by a genealogy of power structures in society, a historical investigation of human subjectivity, and a constant need to respond to the present moment with original, powerful, and critical theater.