"An Opera based on brazilian indigenous mythology presented nowadays, opens today an aesthetic and philosophic discourse. Our interpretation of a nowaday Indigenous culture is:
- The forest is the largest complexity and "technology" system.
- The brazilian indians are the wise and the technologists of the forest.
- Indigenous cosmogony with other mythical figures of the libretto "Poranduba" offers a magic, immersive, lysergic and futuristic visual narrative.
- The geometrization of indigenous artworks as mimetic of organic forms is an abstraction strategy and composition of contemporary design character: digital and fractal.
Our organic / inorganic dialectic derives from the study of Alois Riegl about the definition of nature view from near and far, where finally everything turns geometric and organic, as the order of the cosmos and man. In the book "Abstraction and Empathy", Wilhelm Worringer invites us to think how these two moments / worldviews mutate in various historical periods and integrate cultures. Indigenous designs are the abstraction geometries of organic world, a powerful and lysergic fractal and universal composition, complex textures which precise combination and dynamics allow us to engage the public in a synaesthetic way in a unique experience.
Our references seek the dialectic in the early indigenous culture and reflections of the german philosophers of the nineteenth century about the aesthetics of greek tragedy.
We see cultural miscegenation as a poetic and aesthetic sphere more than a folkloric one. We imagined the set and costume design on the scene with great plasticity, composition, essentialism and poetic force. An organic and magical Gestalt.
The real and the fantastic world interact synergistically in a micro and macro dialectics, introducing the depth perception of the set design elements and costumes as the third dimension.
The lights are forms and the forms are moving geometries of the costumes that transform and augment the scene and vice-versa are transformed and by the movements of the choreography, creating the narrative. The project concept was born first as set design and then was integrated by stage direction choreographing the movements of the scenes with the music.
Synesthesia between the senses and shapes, are integrated into a single organism where music, direction, set design, costumes, lights, makeup and choreography form a new hybrid aesthetic of the Opera. "
Location: Theatro São Pedro (São Paulo, Brasil 2015)
Musical Direction and Rengency: André dos Santos
Creative Direction: Marko Brajovic
Scenic Direction: Caio Zaccariotto Ferreira + Roberto Rebaudengo
Set Design and Lighting: Atelier Marko Brajovic + Roberto Rebaudengo
Costume Design and Make-up: Teka Brajovic
Choreography and Performance: Eduardo Fukushima
Choreography Assistant: Lia Mandelsberg