I GO UP TO FORGET WHAT I CAN NO LONGER SEE FROM BELOW
CIRCULATION 2016
Belo Horizonte streets receive the show “I go up to forget what I can no longer see from below”
Theatrical parade will pass through the streets and squares of the city, uniting performance, tradition and technology in free presentations
Rescuing the practice of the theatrical parade, the production company Carabina Cultural presents in Belo Horizonte the show Subo para forgetr que que no puede ver debelow. The performances take place between February and March in the following districts of the capital of Minas Gerais: Barreiro (February 19th and 21st), Santa Tereza (February 27th and 28th) and Santa Lúcia (March 5th and 6th). Conceived and directed by Carlos Canela, the show has an original soundtrack by Sérgio Pererê. All presentations are free.
I go up to forget what I can no longer see from below, unites the new, the technological, the tradition of theatrical parades and circus elements. Inserting audiovisual tools and projections along the route, the show promotes a sensorial experience, allowing a new interaction between the public and the city, its streets and squares, mediated by the procession and the performances of its actors and circus artists. “Anyone can see everything, with no restrictions. The work is 'open' and the public is free to understand what they want. In addition, each show is unique, as it dialogues with urban facilities along the way”, comments the show’s director, Carlos Canela.
Created exclusively for the show, the Mobile Projection Unit is a device that allows audiovisual projection along the procession through the city's neighborhoods. Powered by batteries, the Unit allows you to freely direct the images to any surfaces present in the route. In this way, the spectator will literally remain inside the show – and, in a way, inside the films shown.
If modern technology is an important part of the spectacle's construction, contemporary man's dilemmas emerge as essential elements for its textual construction. The actors' performances on the scene address the limits imposed by current societies, the evolution of power relations over time and the existential anguish of modern man in the face of these issues. Together with their audiovisual tools, the performances carry out an “radiography” of the historical processes that led man and society to the stage they are in today: the dominant feeling of apathy and the acceptance of life as it is.
Created by Sérgio Pererê, the initial idea for the show's soundtrack came after a conversation with director Carlos Canela: “The whole process was developed in an intuitive, very natural, almost magical way, as if the songs 'asked' to be played. created. The track was created to be an element that wouldn't tie anyone down,” describes Pererê. The proposal was to develop an open soundtrack, which did not insert the show in any time or place, maintaining the idea of the procession, which dialogues with all the spaces, streets and squares where it is presented. As references, elements from different ethnicities or from any ethnicity were used – to create a timeless and non-spatial perception, such as the insertion of excerpts in Mandarin and invented dialects. “For the show, the main concern with the soundtrack was with the imagery aspect, creating image, fire, for example, through sound”, adds the musician.
I go up to forget what I can no longer see from below is the first project by the producer Carabina Cultural to be executed in 2016, which will later carry out the production of a feature film directed by Carlos Canela and an audiovisual workshop approved by the Descentra Cultura program 2015 from the Municipal Culture Foundation of Belo Horizonte. Approved by Belo Horizonte's Municipal Culture Incentive Law, the show's circulation also has the cultural support of companies and institutions such as Mills, TWS Telecom, Casa do Beco and Parada do Cardoso, who believe in the strength of this play as a milestone for the cultural production of BH.
Synopsis
The show I go up to forget what I can no longer see from below is a great show-parade that combines theatre, music, audiovisual and circus elements to make an X-ray of the human being through history.
The show emerged from the conjunction of three major challenges: talking about the deprivation of liberty as the cause of the great evils of modern society, bringing technology, especially audiovisual, in a harmonious way into a street show and, finally, producing a great street show, in the format of a procession, which appropriates the spaces and transforms them into an integral part of the show.
With these objectives in mind, the show was put together by combining technology, audiovisual, music and theatrical and circus performances, transforming the street into a great scenario, expanding the possibilities of a living theater, which appropriates the space and literally brings the audience inside. of the show in a basically sensory journey.
Starting from the initial moments of human evolution, when basic questions of survival were still being fought, the show goes through wars that establish territorial limits, through religions that impose moral and relational limits, through morality that establishes social rules, through aesthetics that redraw boundaries. behavioral until arriving, finally, in modern times, with the potentialization of laws and legitimization of power as a mentor of modern society and manager of the restriction of human freedoms.
Speaking of the lack of tolerance, of both religious and ideological fundamentalism, the search for an artificial power that hides the fragility of each one, the show draws a portrait of modern man and the historical processes that shaped him into an imprisoned, solitary and weakened in the face of a world he does not understand.
About the Cultural Carbine
When Carlos Canela and Suzana Markus came to Belo Horizonte from Juiz de Fora, in 1997, they already had the intention of working with theater. They had met while putting together a show in Juiz de Fora and wanted to open up other possibilities in the capital of Minas Gerais. Upon arrival, they took a video course and fell in love with the madness and the breadth of possibilities offered by audiovisual. They then founded Carabina Filmes, to give vent to the productions. Four years ago, however, they staged the show “Sgroft, Heretica ou Nobody”, based on a text written by Canela, starring and produced by Suzana Markus, in order to recover a little of that good feeling of helplessness provided by the theater.
The play was nominated for five categories of the SATED theater award, receiving the title of best scenography. This motivated Canela and Suzana to invest, once again, in theater and, when assembling the team for the new show, “I go up to forget what I can no longer see from below”, they decided to expand the possibilities of Carabina, with extensive experience in cultural productions. and audiovisual projects, made a cultural production company vibrate that, in addition to carrying out its own projects, proposes to carry out works that combine quality, innovation and sustainability, through effective and differentiated planning.
Datasheet
Creation and Direction: Carlos Canela
Production Director: Suzana Markus
Direction Assistance and Body Preparation: Fábio Furtado
Art Direction and Costumes: Ricca
Technician: Taina Rosa
Video Technician: Diego Lara
Original Soundtrack: Sérgio Pererê
Executive Producer: Karú Torres
Production Assistance: Fábio Schmidt
Scene Producers: Ana Cecília, Graziella Duarte and Thiago Jole
Cast: Alessandra Carneiro, Diego Santos, Fábio Schmidt, Fernanda Flores, Frederico Alves, Pablo Barcelos, Ricardo Righi and Suzana Markus.
SHOW CURRICULUM
Season 1 – May 2013
May 18th and 19th at 8 pm - Downtown Belo Horizonte
Route starting at Av. Afonso Pena (corner with Rua da Bahia) and end at Praça da Estação
May 25th and 26th at 8 pm - Santa Tereza
Route starting at Rua Mármore and ending at Praça Duque de Caxias.
Season 2 – February to March 2016
February 19 and 21, 2016 at 8 pm - Praça Domingos Gatti - Barreiro
The parade starts at Rua Rodolfo Jacob with Rua Alcindo Vieira until Praça Domingos Gatti.
February 27 and 28, 2016 at 8 pm - Praça Duque de Caxias - Santa Tereza
The parade starts at Rua Mármore and Rua Gabro until Praça Duque de Caxias.
March 5th and 6th, 2016 at 8 pm - Santa Lúcia dam - Santa Lúcia
The procession runs along part of Av. Artur Bernardes, near Casa do Beco.
PARTICIPATION IN FESTIVALS
23rd Sesi Meeting of Performing Arts in Araxá - October 27, 2013 - 7:30 pm
V National Festival of University Theater of Patos de Minas - I International Exhibition - November 14, 2013 - 8:30 pm
21st edition of Floripa Teatro - Florianópolis - October 17, 2014 - 7:30 pm
I GO UP TO FORGET WHAT I CAN NO LONGER SEE FROM BELOW
The show "I go up to forget what I can no longer see below" emerged from the conjunction of three major challenges. First, to speak of the deprivation of liberty as the cause of the great evils of modern society, without losing the enchantment of a theatrical spectacle; second, bringing technology, mainly audiovisual, in a harmonious way into a street show; and, finally, to produce a great street show, in the form of a parade, which appropriates the spaces and transforms them into sets.
CLICK BELOW TO SEE THE FULL VIDEO OF THE SHOW
UMP - Mobile Projection Unit
Thinking about it, Carabina Cultural developed a device that was named UMP (Mobile Projection Unit) that allowed, for the first time, to remove the audiovisual projection from static environments (with a fixed screen and projector), giving it total mobility. Powered by batteries and free of wires, the device allows you to freely direct the projections to any surfaces present in the course of the show, thus being able to be used as a scenic object.
Thematic
Speaking of the lack of tolerance, of both religious and ideological fundamentalism, the search for an artificial power that hides the fragility of each one, the show draws a portrait of modern man and the historical processes that shaped him into an imprisoned, solitary and weakened in the face of a world he does not understand.
sensory travel
With that, the show acquired the freedom it needed to unite technology, audiovisual, music and theatrical and circus performances and transform the street into a great scenario, expanding the possibilities of a living theater, which appropriates the space and literally brings the audience into inside the show, on a purely sensory journey.
The street as scenery
Combining all of this with the full range of possibilities offered by the videos, projected on surfaces specially researched for this purpose, with a trail that leads more than it fills, the show involves the spectator, regardless of age, creed or social class, in a dazzling harmonic journey, seducing by the surprise and plastic beauty of the scenes and moving by the sincerity and strength of the interpretations.
