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After experimenting with various formats, farOFFa claps its hands and asks to be excused.

In this edition, we set out to align our desire to meet collectives, artists, producers, spaces and initiatives in different areas of the city.

This issue is about opening the door of our Kombi, the Joyce Sunshine, with a bottle of coffee and a cake and being together, in dialogue with these contexts. 

It's about exchange and collective construction: we're exchanging, offering what we've learnt over the years and learning about these bodies, doings and diversity. South, north, east, west, we're coming!

FarOFFa Process 2022

FarOFFa of the Process brings together works that are at different stages, from the first rehearsals to those on the verge of being premiered. Sharing the different moments of a creation requires very different perspectives - after all, these are artists who come from very different schools and paths.

What's important for our FarOFFa do Processo is that experimentation takes centre stage.

In this sense, we are putting everything that involves an event, a festival, an encounter on the table. But we're always asking how to subvert the traditional recipes, i.e. the tried and tested.  

How do you publicise a process meeting? There's no photo, no synopsis, no fact sheet, how do you do it? If it's the product that counts and we barely know anything about the processes, how can we make this "almost" count? 

As FarOFFa is designed by producers, we are always questioning the current modes of production and our main interest is to highlight the points that make up the production chain. To investigate, deepen and think about it. 

FarOFFa do Processo wants to valorise time and process: creating, distancing, evaluating, thinking, throwing away, questioning, creating again and so on in the complex movement that is artistic creation. Without sticking to causes, effects and determinism. 

As producers, we realise that it's time to change the logic of market efficiency. FarOFFa do Processo and the selection of artists who occupy it want to valorise being in the now rather than rushing towards the premiere.

If in this edition we're going to bring the process to centre stage and give it the space it deserves, we believe that this wouldn't be possible without exchange - between artists, between audiences and those who wish to be together. 

The public will be invited to watch the processes and take part in post-show exchanges with the artists. In this exchange of glances and sensitivities, we believe that the experience is potentiated and the process (of creating or watching) takes on a new, even greater scope.

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FarOFFA device

The Faroffa Device was the 5th edition of Faroffa, and this time we thought about how we could meet again?  How can we reconnect artist and audience? With these provocations, we thought we should go back to something very simple, and decided to simply tell a story. We chose Camille's Stories, from the book, Stay with the Problem, by American writer Donna Haraway. In this text, Haraway muses on what evolution would be like if humans and non-humans were together. We used this possibility of other connections to reconnect the artists with their audience. And in a one-to-one format, in the backyard, on the street, in the garden or in the square, an artist and an audience met to tell and listen to what Camille is proposing for the future. 


Another point we experimented with in this Faroffa was to ask each artist and audience to choose who would be the artists and audiences who would receive the box with Camille's stories, so there were 25 artists and 25 audiences who were chosen by the participants themselves, blowing up the idea of a single, absolute curator!


FarOFFa is a collective of producers who, since 2020, have been creating actions to bring people, desires and ideas closer together. In this third edition of Faroffa - Faroffa Occupation - for four days, around 100 producers came together to bring out and circulate (in)common concepts, ideas and proposals. The meetings were held online, as we were still in the middle of the pandemic, and took place in two virtual cultural spaces: MUD Portal and on the Theatre Platform. 


In the online reflection rooms, the dynamics of this FarOFFa include, in addition to the registered producers, the provocateurs. Christine Greiner, Denise Ferreira da Silva, José Fernando Peixoto de Azevedo, Jota Mombaça, Leda Maria Martins and Valentina Desideri launched the provocations, proposing thoughts that permeated themes such as: creep epistemology, error, failure, enchantment and gambiarra.


Each room also had a playwright, who delved deeper into the provocations, engaging in dialogue with the proposed themes and the intersections brought up by the producers. Artists and academics such as Cynthia Margareth, Elisa Band, Fernanda Raquel, Ierê Papa and Rodrigo Monteiro were invited to fulfil this role at the FarOFFa Occupation. 


The main idea was to create space and time for us to think and create.



FarOFFa crosses borders, crosses the Andes and arrives in Santiago to take part in Platea 21, an international meeting of programme-makers and professionals in the performing arts that is part of the Santiago a Mil Festival programme.


FarOFFa was Brazil's representative and presented the work of 8 creative artists: ColetivA Ocupação (São Paulo), Flávia Pinheiro, (Pernambuco) Gabriela Carneiro da Cunha (Rio de Janeiro), Jussara Belchior (Santa Catarina), Karin Serafim (Santa Catarina), Renata Carvalho (São Paulo), ultravioleta_s (São Paulo) and Vanessa Nunes (Piauí).



FarOFFa is a proposal that seeks to broaden public access to the capital's artistic productions, in their diversity of languages, themes and discourses, taking advantage of the presence of MITsp - São Paulo International Theatre Festival. 

The aim was to bring visibility to the countless collectives that tirelessly produce a vibrant and provocative cultural scene. And to create new modes of production that strengthen the resistance of art in Brazil. FarOFFa seeks to constitute itself as a management experience and a collective space of possibilities for the dissemination and circulation of creations, ideas and artistic encounters.

It is the sharing of aesthetic experiences; the search for different models of managing productions; the search for a collective format to make creations viable. The shows spread across various venues in the city created a circuit where the public could see different artists in multiple spaces. FarOFFa is a political scene. It's not just about presenting shows, but about creating possibilities to bring together diverse artistic experiences from the perspective of production.

FAroffA on SOFA

In this second edition of Faroffa, already in the midst of a pandemic, we focused on thinking about memory, since it was not yet possible to imagine what the future of the performing arts would be. In this way, rather than maintaining the logic of incessant premieres - the way the art market has been operating for a long time - FarOFFa focused on trajectories, memory, the context in which shows were created, artists, research and intense involvement with the work and those who created it. From this way of working with the arts, a concept emerged: that of caretaking. Two fields justify this approach: programming and production. Those who work on both sides of the same coin know that accompaniment, welcoming, care and attention to the delicacies of the process make a difference to the end result.

In these sessions, around 40 recent and not so recent works were mixed together in an amalgam of trajectory and furore. The initiative was called Kombi - Fragmentos de um imaginário tropical (Kombi - Fragments of a tropical imaginary), and can be defined as a programme to bring professionals in the performing arts closer together in order to promote encounters and open doors to new partnerships, collaborations and ways of working.

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