PEOPLE INVOLVED IN THE PROCESS:
Dany Fontana
Gabi Gomes
Daiane Gomes
Ro Albuquerque
Danielle Meireles
Clau Carmo
Diogo Granato
Deborah Ramiris

Audio Transcribed

The group is composed by artists who move between theater, photography, and cinema. We began our research twenty months ago, driven by the need to talk about this delirium we are living. We used, as a free inspiration, the novel There Were Many Horses by Luiz Ruffato. 

In this work, the author uses various linguistic resources to describe what a day would be like in the great metropolis of São Paulo. The author breaks conventional writing by bringing us sensory and non-linear points of view. This polyphony in the work led us to a language that flirts with unconventional spatiality, soundscapes, dystopian characters, and, above all, a critical look at what the 2000s were, especially the turn of the year when we thought the world was going to end.  
The central idea is how someone from the 2000s might look at this contemporary dystopian reality we are facing in 2025. Everything is based on the hybrid of theater and cinema. For Farofa, want to show some of these fragments. 

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Bio:

Acting independently for 1 year and 8 months, the collective holds its rehearsals at the Vila Liah space in the Cambuci neighborhood of São Paulo, having also passed through Campo Limpo Paulista and São Caetano do Sul. The creative process began with Gabriela Gomes, Daiane Gomes, and Daniela Fontana, adopting a collaborative model where, at each meeting, one of the members took the lead, proposing creation exercises and improvisation. From the beginning, the work flirted with the absurd and engaged deeply with Samuel Beckett, exploring the deconstruction of logic and language in the post-end world. The participants’ trajectories led the collective to a continuous research on the fusion between theater and cinema, not only in the use of film projections but in the appropriation of audiovisual effects and resources directly in the scenic space and in the performance. With Rô Albuquerque’s arrival as director, the group began to engage with the work Eles Eram Muitos Cavalos by Luiz Rufatto, deepening the research in the language of deconstruction applied to polyphony. From then on, loosely inspired by the work, the scene development began to engage with the contents and aesthetics presented in the stories, including the dramaturgical premise that all the anxieties and events stem from the experience of a single day. At this stage, the group has been focused on developing an aesthetic that encompasses the mentioned areas of research, as well as the construction of the narrative line that will outline the events of this story.