Audio Transcribed

So, the process of the play, which currently has the provisional name "Web," is something we are doing for the first time in a reversed way. We are creating the book first and only then creating the play, under the direction of Isabel Teixeira. She has this methodology,  this way of writing in the scene," where she works with narrative flows. 

Each of us—there are seven actors in Mungunzá—are creating at home, alone, without knowing what the others are doing. Then, we turn on our phone cameras and record a 10-minute flow, saying whatever comes to mind… It’s really a flow, a narrative flow—whatever arises in the moment, we say it. When that flow ends, we transcribe everything that was said, creating it as if it were a scene, preserving the entire text exactly as spoken but adding stage directions. We then upload it to a shared folder. Bel has access to all the folders, watches each video, reads the transcription, and provides individualized audio feedback for each of us. 

Based on this feedback, we create a new flow, and in this way, we continue progressing and deepening each individual proposal—transforming it into a character or refining the research further. In our collective meetings, she gives us clues about what each of us is becoming. Then, she shares group feedback, allowing us to understand a bit about each other's work from her perspective, while still maintaining some mystery around each person’s creation. Sometimes, we meet and do a collective flow, still without knowing what the others are working on. We are trying to keep this secrecy and reveal things little by little. That’s how we have been moving forward. 

At the end of this first stage, all the flows we create, along with the audio feedback she provides, are transcribed and will be turned into a dossier. From there, we will generate the book, and only after that will we enter the rehearsal room with her, creating the play solely from what was developed in the book. That’s how the process is unfolding, and that’s why, during the process, we will present readings of fragments from this dossier—because we do not yet have a scenic perspective. What we have, for now, is a narrative-based perspective, since that is the foundation of this creation. 

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