A Spectacular Response: Channeling Urban Violence into Street Art

Rita de Ccia Oenning da Silva Phd in Social Anthropology, PPGAS/ UFSC/BRASIL Co !irector, Shine a Light "###$%hinealight$org&

[H]is performances are, in a way, reflexive, in performing he reveals himself to himself. (Victor Turner)

In '((), a gro*p o+ children and teenager% +ro, %o,e o+ the poore%t neigh-orhood% in Reci+e, Bra.il, enco*ntered a chance to give a ne# +ra,e/and #ith it, a ne# ,eaning/to their day to day live%$ Beca*%e o+ their achieve,ent% a% arti%t% in the 0GO P1 no Ch2o, they ,et #ith the French theater director La*rent Poncelet, +o*nder o+ the Ophelia 3h14ter o+ Greno-le, France and an innovator in the 5Action 3heater5 ,ove,ent, #hich #or6% #ith ,arginali.ed gro*p% to prod*ce a theatrical poetry a% a #ay to challenge and 7*e%tion the #orld in #hich #e live8$ Poncelet ca,e to the yo*ng arti%t% #ith a propo%al9 to p*t their live% on %tage in order to create a ne# e%thetic e:perience +or an international a*dience$ ;e e:plained to the, that Action 3heater p*t% 5real people5 on %tage, #here they can per+or, their de%ire% and their live% a% art$
!"criture th"#trale se construit $ partir %!improvisations th"#trales et %e textes "crits par le groupe %e cr"ation, suivis %!un travail %e r""criture et %e %ramaturgie men" par le metteur en sc&ne aurent 'oncelet(i$

Poncelet i% #ell 6no#n in <*rope +or p*tting di++erent international conte:t% on %tage= the children co,e +ro, peripheral co,,*nitie% in Reci+e, one o+ Bra.il>% ,o%t

R1%i%tance Re%i%t?ncia @ Le 3riAve% Oph1lia 3h14tre "France& et Pe 0o Chao "Br1%il& RhBne Alpe% "France& B1lgica "Callonie&, L*:en-*rgo e FranDa$ Eer %ite http9//ophelia$theatre$+ree$+r/creacollective%/-re%il to*r'(()$ht,

violent and %ocially %trati+ied citie%$ Stati%tic% %ho# that an average o+ %eventy ,*rder% d*ring a #ee6end i% not *nco,,on in -attle% a,ong dr*g gang% and #ith the police$ Fet the%e %a,e %pace% in Reci+e are al%o 6no#n +or the prod*ction o+ pop*lar c*lt*re, e%pecially a% e:pre%%ed in dance "e$g$, ,aracat*, +revo, capoeira, a+o:1, and ca-oclinho%&, ele,ent% that %trengthen co,,*nity -ond%'$ 3he %cript #a% developed thro*gh i,provi%ation% -y the yo*ng arti%t%, connecting vignette% o+ li+e in the +avela a% narrated thro*gh their -odie%, #ith dance, capoeira, and con%tant leap% and -o*nd%$ 3he te:t %ho#% the t#o e%%ential ele,ent% o+ their live%/art and violence/ill*%trating Geert.>% co,,ent a-o*t Gati%%e9 5the ,ean% o+ an art and the +eeling +or li+e that ani,ate% it are in%epara-le, and one can no ,ore *nder%tand ae%thetic o-Hect% a% concatenation% o+ p*re +or, than one can *nder%tand %peech a% a parade o+ %yntactic variation%, %tr*ct*ral tran%+or,ation%5 "8IJ&$ A+ter al,o%t a year o+ rehear%al and %everal per+or,ance% in Reci+e, Poncelet and the yo*ng actor% too6 the play on a ,onth long to*r o+ Belgi*,, L*:e,-o*rg, and France, c*l,inating in the '((K Action 3heater Fe%tival$) 3he to*r #a% e:tre,ely #ell received, and the gro*p ha% no# -een invited -ac6 %everal ti,e%I$ By t*rning their reality into a %pectacle, the yo*ng actor% tran%+or, violence +ro, ro*tine into an event$ In thi% #ay, they al%o e:po%e the hidden violence in daily di%cri,ination, lac6 o+ -a%ic p*-lic good%, and the %egregation o+ people living in the +avela%$ In the play, #e recogni.e the %y,-ol% that ,ar6 li+e in the +avela, -*t then the%e %y,-ol% -rea6 apart and and give -irth to %o,ething ne#, pointing to 3*rnerL% %ocial dra,a%, the crac6% in the%e dra,a%, and the po%%i-ilitie% o+ ne# relation% that ,ight e,erge +ro, the -rea6%$ Sy,-ol% and ge%t*re% +ro, the local c*lt*re co,e to the %*r+ace,

in a %pectac*lar %yne%the%ia, e:pre%%ing a li+e and ,eaning that ,ere #ord% co*ld not$ In additon, the%e yo*ng actor% -ring +avela c*lt*re/nor,ally ,arginali.ed and a-*%ed -y %tate and non %tate actor% ali6e/onto +a,o*% %tage% at the center o+ <*ropean c*lt*re$ A% they t*rn the periphery into the center, they -ring onto the %tage i%%*e% that ,ay help to di%%olve, i+ only +or a ,o,ent, ancient -arrier% and preH*dice% that divide rich +ro, poor, -lac6 +ro, #hite, inha-itant% o+ the +avela +ro, tho%e o+ the +or,al city$ In the +ollo#ing %ection, I de%cri-e %o,e o+ the 6ey %cene% +ro, the play Re%i%t?ncia/Re%i%tonce$

The Play: Narrating with the Body At c*rtain, the %tage i% al,o%t co,pletely dar6, light ill*,inating a %ingle hand$ 3he light de%cend% to %ho# other part% o+ the -ody, #hich -egin% to dance capoeira M a% a -eri,-a*) play%$ A ,ale voice %crea,%, 5So,eone help ,e, anyone help ,e,5 leading to the +renetic entrance o+ eight other character%, no# in +*ll light$ A #o,an call%, 5Chat happenedN5 %everal ti,e%, and a dr*, -eat% lo*dly$ A girl %tand% %tage right, dancing the %tep% to a ,aracat*K *rgently, #hen three -oy% enter #ith gy,na%tic +lip%$ 3#o yo*ng ,en and a yo*ng #o,an %tand %tage rear, the olde%t o+ the, playing a dr*,$ In the ,id%t o+ thi% con+*%ion, a ten year old -oy na,ed Go%7*ito enter%, playing a dr*,$ Go%7*ito #ill -e the protagoni%t o+ the play, and hi% interaction% #ith the other character% drive the narrative$ Light +oc*%e% on the -oy, the other dr*,% cea%e, and only Go%7*ito play%$ ;e loo6% *p, terri+ied -y #hat he %ee%, and +lee% the %tage$ In the %econd %cene, Chi7*inho, a thin yo*ng ,an, enter% %tage right and ,ove% to#ard a co*ple dancing +orrOJ do#n%tage$ ;e loo6% at the ,ale dancer and clai,% a de-t

to -e paid9
*+o, yo, you got the cash to spen% on a chic,, -ut nothing for me, huh. [pause] +ou thin, that!s /0. 1irl %oesn!t ma,e you ashame%. +ou ,now what, man. ['ause] +ou!re stepping high on the shitpile [ aughs] 23 4H5 6!ll show an% you!ll pay to%ay, +ou hear.(

F*rio*%, he approache% the dancing co*ple, pointing at the yo*ng ,an9 5Fo* +orgetting ,eN5 3he dancer re%pond% -ravely to the challenge and doe% a -ac6 +lip$ 3he t#o threaten each other relentle%%ly #ith dance %tep%, #hile al#ay% %taring each other do#n$ Gaintaining +*rio*% eye contact, they do %i,*ltaneo*% -ac6 +lip%$ 3hey contin*e to +lip a% the girl, Go%7*ito, and a character na,ed Chico #atch$ 3#o ,ore dancer% +ighter% enter and Hoin in the acro-atic%$ Go%7*ito play% the dr*, to the rhyth, o+ the -attle and %crea,% 5tac, tac, tac$5 Another dancer enter% and -egin% a dance -attle #ith Chico, leaving three pair% on %tage$ 3he %cene enter% a 6ind o+ %lo# ,otion$ Stage rear, an ata-a7*e -egin% a capoeira rhyth,, #hich -eco,e% grad*ally +a%ter and lo*der, co,,anding the dance$ <ach ti,e the dr*, %top%, the dancer% +all to the +loor$ Go%7*ito call% 5tac, tac, tac5 again, and #ith the dancer% on the +loor, -oa%t% o+ hi% co*rage9
*+ou stan% on your own two feet, eh. Hey, hey, 6!ll -rea, you, man. +ou got nothing on me. +ou!re wea,. +ou7re tal,ing, -ut my stic, is coming at you. Ta,e that, an% that. [capoeira steps] +ou can!t ta,e it. 6 -eat twelve li,e that, an% you!re the next. 8othing on me. +ou can!t han%le it. +ou!re wea,, an% that!s the whole story(.

At the opening o+ the third %cene, a lone #o,an enter% and %crea,%9 P0ego, 0ego

QPa*%eR$ 3hey did nothing, nothing$ It>% the cop%, the cop%, the cop%, the cop% the cop%$S ;earing the #arning, the %i: dancer +ighter% ri%e one -y one, ,i:ing dance %tep% #ith the #ell 6no#n ,ove,ent% o+ -eing +ri%6ed -y the police$ 3he a,-ig*o*% ,ove,ent point% to the +act that the actor% have had to do thi% ,any ti,e% in real li+e$ 3he character% no# +all to the %tage a% i+ dead, then ri%e and +all, ri%e and +all$ 3he -rave #arrior% o+ the la%t %cene are no# -r*tali.ed pri%oner%$ Bac6 to -ac6, they try to %*pport each other and ri%e together, -*t then they +all$ Chen they ,anage to ri%e, they dance a %tep or t#o o+ capoeira to %ho# their re%i%tance, -*t then +all again and %tr*ggle to ri%e$ Later in the play, a %trong yo*ng ,an na,ed 0ego dance% +orrO and then, %taring into %pace, regi%ter% +ear on hi% +ace$ A #o,an enter%, +ir%t challenge% hi, on hi% gang ,e,-er%hip, and then %ay% %he +ear% that %o,ething i% going to happen, p*%hing the -oy o++ the %tage in +ear$ A ,aracat* play%, and the #o,an dance%, her long ar,% do,inating the %tage$ A girl enter%, dancing, and everyone el%e e:it%$ 3he girl and #o,an contin*e to dance, -*t the rhyth,% change% #ith the tragic tone o+ a -eri,-a*, +ore%hado#ing tragedy$ Go%7*ito enter% and a%6% the girl to dance +orrO #ith hi,, %ee,ing not to notice the o,ino*% ,*%ic played in the -ac6gro*nd$ 3hi% contra%t, #here the a*dience and %o,e character% can +eel the threat o+ violence in the air, #hile other% do not, ,atche% the +eeling o+ a %tranger in the +avela #hen violence i% ready to e:plode$ S*ddenly, the dancer% +lee the %tage, leaving only Go%7*ito and a -oy #ho #atche% thro*gh a hole in the #all, the %tage>% only prop$ A+ter %everal ,ore %cene%, t#o ,ore actor% enter, and ,i,e the ,ove,ent% o+ -eggar% #ho ,a6e %pare change -y cleaning #ind%hield% at %toplight%$ A+ter a ,o,ent, they tran%+or, the ,ove,ent% o+ %7*eegee ,en into a dance$ 3he %cene i% divided

-et#een rich and poor, car% and -oy%, *ntil one yo*ng ,an get% a h*ge tip and re+*%e% to %hare it #ith hi% +riend$ 3hey +ight *ntil -oth +all to the %treet$ Go%7*ito arrive%, 6neel% do#n, then t*rn% to the a*dience and %ay%, 53hey>re a%leep$5 3he a*dience la*gh%, -rea6ing the dra,atic ten%ion, and then Go%7*ito +all% ne:t to the -oy%, in%piring ,ore la*gh%$ Several %cene% later, a voice call% to t#o yo*ng ,en, #ho enter +or a Sa,-a de Roda$ In thi% dance, a circle o+ ,en and #o,en %*rro*nd a dancing co*ple, -*t +ro, ti,e to ti,e, a ,an leave% -rea6% the circle to challenge the central ,ale dancer, +orcing hi, o*t into the circle= the dance ,i:e% %en%*ality, play, and threat$ Go%7*ito enter%, no# in a tie and long pant%, dancing and la*ghing, and tho*gh he i% the %,alle%t o+ the gro*p, he ,a6e% a place +or hi,%el+ -y challenging the ,an dancing in the center o+ the circle$ Other% enter and leave to ga,e, and all appear% play+*l *ntil the talle%t #o,an co,e% and hint% that danger i% on the #ay$ S*ddenly, a do.en thing% happen #ith no %ee,ing logic9 Chico +all%, inH*red$ 3he other% r*%h to help hi,$ Gore people +all9 three are no# on the +loor$ Panic en%*e%$ 3he t#o -oy% #ho had #or6ed and +o*ght at the %toplight, -oth no# h*rt, li+t each other and help each other o++ %tage$ 3he tall #o,an +all% #ho #arned the dancing circle o+ the co,ing violence +all% and occ*pie% ,*ch o+ the %tage$ In the ,id%t o+ the con+*%ion, her %on enter%, care%%e% her +ace, and trie% to help her$ 3he ,ale actor% li+t her a-ove their head%, a% in a +*neral proce%%ion$ In the +inal %cene, #hich o++er% a po%t +acto rit*al +ra,e +or the play, Go%7*ito enter% alone, no# in hi% ad*lt clothe%, -*t %till playing and -rea6dancing$ A light +all% on the tall #o,an, re%ting on the #all o+ the +avela$ Go%7*ito %ee% her a-ove the #all and

call% o*t, 5Ri, Ri i% -ac6T5 A% the cro#ned 7*een o+ the Garacat*, %he enter% on the ar,% o+ the -oy%, +or,ing a h*,an throne$ All %ing the lyric% and enact the cere,ony o+ the ,aracat*9 the %ama %o pa9o carrying the calunga doll that repre%ent% the dead 7*een$ Gen play the -at*7*e and the al+aia$ 3he carnaval cere,ony i% -ro*ght o*t o+ conte:t, played on the %tage, ,ar6ing it% e%thetic and %ocial a% #ell a% rit*al ele,ent%$ 3he other actor% leave Go%7*ito alone on %tage, dr*,,ing the rhyth, o+ the ,aracat*$ Repeating the +ir%t %cene, he loo6% o++ %tage to %ee %o,ething that %care% hi,, and +lee%$K

The play as a space of encounter and transfor ation In :esist;ncia<:esistance, perc*%%ion and the -ody co,e together to narrate live% in the +avela$ 3he +or,ali.ed ,ove,ent% -egin #ith the 7*otidian activitie% o+ children and teenager% +ro, the ,argin%, e%pecially the art% and dance% that +ill their live%$ P*t together, they -eco,e a 5dance o+ the 7*otidian5, #hich ta6e% place on a %tage that al%o +or,ali.e% their day to day live%, *%ing only one prop9 a #all$ 3hi% #all, -ro6en -y ro*gh hole%, repre%ent% the #all -*ilt -y a rich %hopping center in Reci+e to %eparate it% con%*,er% +ro, the poor o+ the +avela$ In ter,% *%ed -y Eictor 3*rner, #e co*ld call the play an e%thetic dra,a, #here the actor% e:pre%% and repeat their o#n e:perience% "=ewey UK&$ I+ %ocial li+e i%, a% Go++,an %*gge%t%, already a theater, then thi% play -eco,e% a %ort o+ ,eta theater, in #hich the actor% dra,ati.e the event% o+ their daily li+e +or an a*dience$ 3he central ele,ent o+ thi% ,eta theater i% it% re+le:ivity, thro*gh #hich actor% and a*dience e:perience the,%elve% di++erently, #ith a di++erent %tage +ro, the %treet% and pla.a% #here they per+or, ,o%t day%$

3*rner *%e% theater lang*age to de%cri-e the %ocial dra,a9 5*nit% o+ ahar,onic or di%har,onic proce%%, ari%ing in con+lict %it*ation%5 "'rocesso ritual UK&$ For 3*rner "4ocial =ramas 8IV 8M'& the%e e:tra 7*otidian event% re+lect the 7*otidian, e%thetic dra,% that ill*,inate %ocial dra,a%$ 3*rner al%o declare% that, 53he%e %it*ation%/

arg*,ent%, co,-at, rite% o+ pa%%age/are dra,atic -eca*%e the participant% do not only do thing%, they al%o try to %ho# other% #hat they are doing or #hat they have done5$ "=ewey, KI&$ Schechner %*gge%t% that 5the dra,atic event, in the heart o+ the

per+or,ance, i% a rit*ali.ed #ay to pre%ent >di++ic*lt ,aterial> to the co,,*nity or a*dience$ In thi% %en%e, every dra,a i% a %tory reali.ed -y tho%e are, directly or

indirectly, %*-Hect% o+ the %tory they #atch$ 3hey are do*-ly repre%ented, a% character% and %pectator%$5 ":itual 'I8& :esist;ncia<:esistance i% an e%thetic dra,a -a%ed on a %ocial dra,a, e:pre%%ed in the +renetic ,ove,ent o+ -odie% that never %top$ <ven %o, the dra,a i% %eldo, e:pre%%ed in #ord%, %ho#ing the priority o+ the -ody +or co,,*nication in the co,,*nity$ Cith the%e leap% and dance% acco,panied -y ata-a>ues, ?a-um-as, and -erim-aus, the character% e,erge +ro, -ehind the #all% o+ the +avela #here the actor% live, *%ing the%e iconic in%tr*,ent% to dance ma,ulel;, capoeira, and maracatu$ 3he centrality o+ Go%7*ito, a %,all -oy, repre%ent% the role o+ children in the co,,*nity, #here their ga,e% and ga.e% are an eternal a*dience to the con+lict% and art% o+ the +avela$ On %tage, a% #ell a% in the co,,*nity, children appear to cataly.e %ocial li+e, connecting and di%connecting Hoy and hope #ith/+ro, violence$ For altho*gh the child i% central to +avela li+e "%ee Silva&, the child +ro, the periphery i% al,o%t invi%i-le to tho%e on the other %ide o+ the #all%, ,a6ing Go%7*ito e%%ential to the dra,at*rgy, a% the

+ig*re #ho vi%i-ili.e% the invi%i-le$ Si,ilarly, the %toplight %cene %ho#% one o+ the +e# ,o,ent% #hen children %ee and can -e %een over the +avela #all%, -*t #here the rich can %*ccor or reHect the poor children thro*gh control o+ their car #indo#%$ 3he per+or,ance re,ar6% on the li,ited %pace availa-le to children +ro, the +avela #hile, a% per+or,ed on <*ropean %tage%, tran%gre%%ing the r*le% o+ #here a poor child can -e$ Repeated ge%t*re% and ,ove,ent% e:pre%% the repetition o+ relation%hip%, a% one %ee% in the %cene #ith the police9 rai%e the hand%, %h*t *p, t*rn yo*r -ac6, hand% on the #all, #ait +or the acc*%ation$ 3he %cene i% %lo# and pain+*l, %ho#ing the a*dience a little o+ the -oy%> pain and %ha,e in real li+e +ri%6ing%= the -oy% and their ,other% o+ten *%ed thi% i,age a% a %ynecdoche o+ oppre%%ion$ 3he ge%t*re% reveal the %tereotype% in the relation%hip -et#een periphery and a*thority, and %erve a% a %ocial gestus a% de%cri-ed -y !a#%ey "@Aias<frias JJ&,V #here +ear o+ the other direct% action$ 3he%e repetition% allo# +or the recognition o+ the a%y,,etry o+ po#er$ ;o#ever, the e:ec*tion o+ the%e ge%t*re% al%o repre%ent% re%i%tance$ One o+ the actor% %po6e o+ 5the re%i%tance o+ a people59 5Re%i%tance i% all the periphery ha%$ 3he cop% co,e and -eat *% *p, -*t #e re%i%t$ Fo* have to %tand *p to the, Q resistirR, -eca*%e i+ yo* don>t$$$5 Go++,an de%cri-e% +ooting a% 5repre%entQingR align,ent, po%t*re, the po%ition, the proHection o+ the >I> o+ a participant in relation to the other, #ith hi,%el+, and #ith the di%co*r%e in con%tr*ction,5 "K(& and here the actor a%%*,e% thi% de+inition a% part o+ hi% idea o+ re%i%tance$ !ance and #ar are -lended in the proce%%, a% are love and %tri+e, la*ghter and death, -*t re%i%tance contin*e%$ 3he gang %cene %ho#% the +l*idity o+ po%%i-ilitie% in the +avela9 5Hoin the gang,5 5+ear the gang,5 5e%cape the gang,5 and 5ad,ire the gang5 are all open$ Chile ad*lt%, +or

in%tance, ,ay %ee hip hop a% a gate#ay to gang%, children can %ee it a% a #ay to re%i%t enli%t,ent= people o*t%ide o+ the +avela %ee the gang a% a %tig,a, -*t ,any gang ,e,-er% thin6 it i% a #ay to gain pre%tige, tho*gh the -rand% and good% %ociety %ee% a% i,portant$ Li+e it%el+ ,ay co,e to %ee, le%% i,portant than thi% pre%tige, a% one o+ the actor% p*t it9
*There was one time 6 stoppe% an% thought, fuc,, man, 6!m screwe%, an% there!s nothing to my life. 6!ll fuc, it -efore it fuc,s me. 6!ll %o li,e the gang<-angers. 6!ll win my money an% ,eep it up until 6 %ie. 6 saw so many frien%s in Bail, mur%ere%...* (Ciapinho, DE years ol%)

Ce al%o %ee re%i%tance in the long, con%tantly #aving ar,% o+ the 7*een o+ the ,aracat*, %y,-oli.ing the rich c*lt*re o+ the +avela% and it% ,ani+e%tation%/only no# in *ne:pected place%$ Both d*ring carnaval and d*ring the reg*lar rehear%al% thro*gho*t the year, ,aracat* %erve% to *ni+y and give %trength to the co,,*nity, and in the play, the ,aracat* ,ar6% the deno*e,ent, #here, a% 3*rner "'erformance& p*t% it, a+ter the tragedy people co,e together$ 3he religio*% and %y,-olic ele,ent%/the %ama %e pa9o #ith her calunga, repre%enting the dead ance%tor, the e++ort% to plea%e Saint Benedict and O*r Lady o+ the Ro%ary, the tri-*te% to the orixFs/,ay %ee, o*t o+ place on %tage, -*t no le%% po#er+*l$ 3he play>% ,any %cene% and level% -ring %y,-ol% and ge%t*re% to the %*r+ace, e:pre%%ing a li+e and ,eaning that #ord% co*ld not$ It point% to %yne%the%ia, #here %y,-ol% e:plode and give -irth at the %a,e ti,e, pointing to 3*rnerL% %ocial dra,a%, the crac6% in the%e dra,a%, and the po%%i-ilitie% o+ ne# relation% that ,ight e,erge% +ro, the -rea6%$

!ra es: "ar and laughter Gregory Bate%on ha% +a,o*%ly %aid that no ,e%%age can -e *nder%tood #itho*t a +ra,e, #hich %erve% a% in%tr*ction% +or the li%tener to interpret the ,e%%age$ 3hi% +ra,e ,ar6% o++ or repre%ent% di++erent cla%%e% o+ ,eaning+*l activitie% "MK&, and per,it% *% to *nder%tand, +or e:a,ple, that tho*gh the play ,ay *%e #ar a% a ,etaphor, it i% not a violent #or6$ Bate%on goe% on to %ay that the +ra,e capt*re% level% o+ a,-ig*ity

incl*ded in co,,*nication, their +*nction%, and the %*-tle relation% o+ %*-ordination a,ong ,e%%age%$ Cithin thi% +ra,e, #e can %ee ho# :esist;nciaG:"sistance addre%%e% the role that -rea6dance and capoeira have a%%*,ed in ,*ch o+ the #orld9 dance% that ta6e %tr*ggle a% a ,etaphor$ Ge%t*re%, ,ove,ent, and con+lict are %*-%*,ed in the e%thetic -attle o+ the dance= #ar contin*e% a% an operative ,etaphor, -*t the +ra,e re de+ine% it a% play, not a% violent con+lict$ Catching the play, the a*dience re%pond% to that +ra,e, even tho*gh, in di++erent ti,e% and part% o+ Bra.il, capoeira ha% -een practiced and *nder%tood a% violent$ Li6e ,any other %ocial practice%, it i% a,-ig*o*% and depend% on the +ra,e$ Chen Go%7*ito arrive% on the %cene to +ind the t#o #arrior% collap%ed on the +loor, the -r*%7*e change in the +ra,e ,a6e% the a*dience %ee that tho*gh the play re+er% to violence, it i% not it%el+ violent9 hi% Ho6e re,ind% the a*dience that they are #atching a play, -rea6ing the mise<en<scene and +orcing the a*dience to ta6e an deto*r +ro, their previo*% interpretation$ Go%7*ito invite% the, to la*gh at the,%elve% +or the #ay they had e:perienced the dra,a, and thi% -rea6 in%pire% la*ghter$ It al%o conte:t*ali.e% the e:perience9 53he proce%% o+ conte:t*ali.ation can -e di%cerned -y paying attention to the >conte:t*ali.ation cl*e%> that %ignal #hich characteri%tic% o+ the conte:t are *%ed -y tho%e

#ho are interacting in the interpretive +ra,e%$5 "Ba*,an and Brigg% KU& A,-ig*ity i%, ho#ever, i,portant in conveying the ,e%%age o+ the play$ 3he actor% o+ten critici.ed the,%elve% +or %,all error% "li6e a -oy #ho +all% #hen dancing& and hole% in the %cene%, -*t the a*dience %a# it di++erently$ Ro,rio "88 year% old& %aid that he #a% %*rpri%ed that e:actly the%e error% in%pired the a*dience to la*gh or inter+ere, participating actively in the %pectacle$ 3he actor% #anted to correct the%e ,i%ta6e%, -*t al%o *nder%tood that little error% i,proved their relation%hip #ith the a*dience$ Ba*,an and Brigg% %*gge%t that it i% i,portant to di%ting*i%h -et#een de conte:t*ali.ation, in te:*ali.ation, and re conte:t*aliation$ For the,, in te:t*ali.ation
*6s the process -y which %iscourse can -e extracte%... from its interactional setting. H text, from this point of view, is a %iscourse ta,en an% %e<contextuali?e%. 6n<texuali?ation can incorporate aspects of the context, in such a way that the resulting text can carry within itself elements of the history of its own use.* "8M&

3he play i% a ,*ltivocal #or6, %ince it e,erged +ro, #or6%hop% a,ong a director and actor% living in very di++erent #orld%, and can th*% -e interpreted thro*gh an interte:t*al per%pective$ It al%o appear% prod*ctive to %ee it a% the re%*lt o+ interte:t*ality -et#een art on the %tage and art in the daily live% o+ the per+or,er%$ 3hey ,i: together the %ocial and e%thetic dra,a%$ At the %a,e ti,e, #hen the play #a% ta6en to France, the 7*otidian art% o+ the children #ere de conte:t*ali.ed$ In te:*ali.ation e,pha%i.e% the re+le:ive capacity o+ di%co*r%e, %o,ething Ba*,an and Brigg% %ee ,o%t clearly in poetry and ,etaling*i%tic%9 Pit %hare% #ith all %y%te,% o+ %igni+ication to t*rn -ac6 *pon it%el+, to -eco,e an o-Hect to it%el+, to re+er to it%el+$S "Ba*,an and Brigg% KU&$ A% it -ring% the day to day li+e o+ the per+or,er% to the

%tage, the 5te:t5 open% thi% ne# po%%i-ility +or re+lection, +orcing the actor% and the a*dience to co,e into ne# ,ode% o+ contact #ith their 5other%5 and #ith the,%elve%$ :esist;nciaG:"sistance %hare% an i,portant characteri%tic #ith c*lt*ral

per+or,ance%9 the tran%+or,ation o+ the actor thro*gh hi% co,,it,ent to the character$ 3he yo*ng arti%t% +ro, Reci+e ta6e their o#n li+e e:perience to the %tage a% a ,edi*, +or a connection to the a*dience$ 3he %el+ i% in play on %tage$ Schechner point% to %o,ething %i,ilar in environ,ental theater, in #hich the re%pon%e o+ the per+or,er i% the e%%ence o+ the #or6, and the per+or,er>% %el+ i% e:teriori.ed thro*gh the %cenic #or6 o+ the play "8VKU 3nvironmental Theatre 8')&$ A% they per+or, their live% on %tage, the actor% +ro, Reci+e had the chance to ,a6e a de+initive change in their ego%$ A% Fiapinho p*t it,
The first time 6 playe% the stoplight scene, there was a woman in the front row, an% 6 Bust loo,e% at her, crying my eyes out, man. 6 wante% to show her that we put all of our energy for her, an% she felt what was going on, un%erstan%. 4he felt li,e it was reality right there. 8ot theater, reality.

Chen I tal6ed #ith Fiapinho a+ter he ret*rned +ro, France, he told ,e that one o+ the ,o%t pain+*l thing% in hi% li+e #a% to #al6 thro*gh the %treet% o+ Reci+e and %ee #o,en gra%p their p*r%e% clo%e, %cared that he #o*ld ro- the,$ 3he #o,an +or #ho, he per+or,ed in the theater #a% not the %a,e e:act #o,an #ho gra--ed at her p*r%e, -*t they #ere #o,en o+ the %a,e cla%%$ Fro, the %tage, ho#ever, %he %a# hi,, he %a# her, and he %a# hi,%el+ di++erently$ 3hi% po%%i-le %el+ tran%+or,ation -e+ore the eye% o+ the other %ho#% the novelty o+ :esist;nciaG:"sistance$ 3he di%tant other open% the po%%i-ility o+ a do*-le enco*nter9 #ith oneself as other, and #ith the other as herself$ <ven i+ the play doe% not e7*ate

per+or,er%/actor%/creator% #ith tho%e living the %torie%, it %*-vert% the i,,en%e di%tance nor,ally ,aintained -et#een the%e categorie%$ In Reci+e, #ay the ,edia pay% attention to the violence o+ the +avela %pectac*lari.e% the 7*otidian #ith a %erie% o+ violent %tereotype%$ On the other hand, in the play, the day to day live% o+ the yo*ng actor%/and not only the violence they %*++er /-eco,e per+or,atic, %pectac*lari.ed$ 3he play %ho#% that day to day li+e i% it%el+ e:traordinary in the live% o+ the yo*ng actor% +ro, the +avela%$ Gore i,portantly, it i% not only the violence that ,erit% a %pectac*lar treat,ent, -*t even ,ore the art that the%e children live on the %treet%$ In :esist;nciaG:"sistance, the arti%t% #anted to -ring the e%thetic% o+ the 7*otidian to the %tage, #hile at the %a,e ti,e tran%+or,ing the %ocial dra,a% o+ their day to day live%$ Perhap% they al%o hoped to tran%+or, violence into %o,ething e:tra 7*otidian, de nor,ali.ed, -ringing it into a ne# +ra,e thro*gh art/a% -rea6dance and capoeira did #ith gang -attle% in di++erent conte:t%$ 3he %pectac*lari.ation o+ reality i% a #ay to tran%+or, violence +ro, ro*tine into an event$ In the proce%%, they %ho# that ro*tine violence i% not %i,ply a +act o+ gang #ar% in the +avela, -*t al%o +o*nd in daily di%cri,ination, lac6 o+ -a%ic p*-lic good%, and the %egregation o+ people living in the +avela%$ 3hi% proce%% ,ay al%o +lip the hierarchie% o+ periphery and center, a% one o+ the actor% %aid apropo% o+ the centrality o+ pop*lar c*lt*re9
2hen we get *pity applause,* when they say, *poor ,i%s, how they suffer*... 6 %on!t want that. 2ith all of the violence we see in @ra?il, we resist, an% we want to show our culture an% our wor,. Hn% we want to show this wor, to -rea, violence. To -rea, %own the walls an% preBu%ices... not Bust the ones that exist for us, -ut in the whole worl%, -ecause 6 see that it isn!t Bust in @ra?il where people face violence an% %iscrimination. 6t!s in the

whole worl%.* (Tamires, DI years ol%)

3ho*gh the condition% o+ invi%i-ility, ,arginali.ation, and violence lead to the condition% that ,a6e +or great art, a% Schechner p*t% it, P3he +ir%t ti,e or PoriginalS violence o+ real li+e i% anything -*t rede,ptive$ People need to W,a6e %o,ething o*tL o+ it, i+ at +ir%t only -y repetition$S ":itual U((& 3he play, -y repeating %ocial ge%t*re% and social gestus, propo%e% to 5do %o,ething5 a% the per+or,er% p*t it, to -*ild *p a c*lt*re o+ re%i%tance and tran%+or, the relation -et#een 7*otidian and %pectac*lar$ I+ it i% tr*e that %tr*ggle i% the +*nda,ental ,etaphor in the live% o+ the yo*ng arti%t%/a% one %aid, 5I>ll re%i%t, -eca*%e #itho*t re%i%tance I a, nothing5/thi% %tr*ggle i% given %en%e in the +ra,e o+ dance and art$ In the dance, a% it tran%+or,% the relation #ith other%, the #orld %*ddenly %ee,% po%%i-le$

La*rent Poncelet contend% that Action 3heater allo#% actor% to %tage their de%ire and the %it*ation% they +ace each day, and +or their art #or6% to 7*e%tion the conte,porary #orld -y addre%%ing the local and glo-al pro-le,%$ Poncelet #or6% in <*rope, Bra.il, and %everal A+rican co*ntrie%, developing play% that addre%% local realitie%, #hich are then %taged #here the a*thor%/actor% live, and %o,eti,e% in <*ropean co*ntrie%$ http9//###$opheliatheatre$+r/ 3he prod*ction #a% a colla-oration -et#een the Gr*po de Apoio G*t*o P1 no Ch2o "Bra.il& and Poncelet, and opened the 88th Action 3heater Fe%tival "FI3A '(()&, pre%ented in Belgi*,, France, and L*:e,-*rg$ ' 3o %ee a ,ore co,plete analy%i% o+ thi% gro*p, plea%e read Silva$ U Credit% +or the play9 Prod*ced -y9 Co,pagnie Ophelia 3h14tre and Gr*po P1 no Ch2o !irector and arti%tic develop,ent9 La*rent Poncelet$ !irectorL% a%%i%tant%9 <rne%to Filho and Xo%1 C$ X*nior do% Santo% Actor%, ,*i%ician%, and dancer%9 Cleone% FranDa "0ego&, !aniel Barro% "perc*%%on&, !aniela Barreto "+ir%t dancer&, !eivi%on C*nha "Chico&, <liene 3raHano "%econd dancer&, Fa-io FranDa ",ale dancer&, Iricley Andrade "Fiapinho&, Ytalo <vangeli%ta "Ytalo&, L*.iel Co%ta "!ete+on&, Ro,rio do% Santo% "Go%7*ito&, 3acyana FranDa "3hird !ancer&,3a,ire% So*.a$ "Ri, Z*een o+ the Garacat*&, G*%ican direction9 !aniel Barro%, Light%9 L*ciana Rapo*%o I Re%i%t?ncia Re%itance, #a% the only Latin A,erican play pre%ented at Action 3heater Fe%tial in Octo-er and 0ove,-er o+ '(()$ It ha% +ir%t -een per+or,ed in Reci+e, largely +or +a,ily and co,,*nity ,e,-er%, -*t a+ter the to*r, the po%itive re%pon%e o+ the <*ropean a*dience enco*raged the gro*p to open a %ea%on o+ per+or,ance% in Reci+e, a% #ell$ M Ceaponle%% ,artial art created -y A+rican %lave% in Bra.il in the 8Vth Cent*ry a% a techni7*e od %el+ de+en%e again%t %lavery$ 3oday, capoeira ha% -eco,e a dance/,artial art practiced aro*nd the #orld$ ) A %ingle %tringed ,*%ical in%tr*,ent *%ed to give rhyth, to capoeira co,-at/dance$ K Maracatu is a musical ceremony that emerged from African, European, and indigenous symbols among slaves in Brazil in the 18th century. Large groups mimicking a royal court parade through the streets to an instantly identifiable rhythm. The members of the court include: 1) a standard-bearer with a flag identifying the group; 2) The dama do pao, a woman carrying in her arms the calunga, a doll representing the ancestors of the group; 3) The King and Queen, crowned in the central ceremony; 4) The Vassal, a slave who carries an immense parasol for the royal couple; 5) Figures representing the court (princes, ministers, ambassadors); 6) Ladies of the court; 7& Fa-%, -atter 6no#n a% -aianas, repre%enting +e,ale %lave%$ V& Bat*7*eiro%, dr*,,er% #ho play %nare dr*,%, al+aia% "large dr*,%&, a gong, %ha6er%, etc$ J ForrO i% a +ol6 +e%tival +ro, Bra.ilL% northea%t, a% #ell a% the na,e o+ the dance at the%e +e%tival% "the dance i% al%o 6no#n a% arrasta<p", -ate<chinela, fo-A, or forro-o%A&$ 3he ,*%ic i% traditionally played -y an accordeon, a -a%% dr*,, and a triangle$ V !a#%ey ta6e% BenHa,in and Barthe%L idea o+ %ocial gestus and de+ine% it a% Pthe ge%t*re or collective o+ ge%t*re% -*rdened #ith con+lict, ten%ion, or %ocial contradiction%$$$ QFor BenHa,inR it i% a ,o,ent o+ indeter,inacy, an in%tant o+ %ocial relation%, a clearing that i% capa-le o+ +i:ing the i,age o+ contradiction%, a% #ell a% -reache% and opening%$ "!a#%ey =e >ue riem os *-Aias<frias*. JJ V(&$ For Barthe% the %ocial gestus i% a ge%t*re thro*gh #hich one can read a #hole %ocial conte:t$

Bi-liography o+ #or6% cited9 BA3<SO0, Gregory PU,a teoria %o-re -rincadeira e +anta%iaS, in9 4ociolingJKstica 6nternacionalL Hntropologia, ingJKstica e 4ociologia em HnFlise %o =iscurso, Ri-eiro, B$3$, Garce., P$G$, "org%$&$ Porto Alegre9 AC<, 8VVJ$ Print$ BAUGA0, Richard$ Ver-al Hrt as 'erformance. Ro#ley, Ga%%9 0e#-*ry ;o*%e P*-li%her%$ 8VKK$

Print$ BAUGA0, Richard and BRIGGS, Charle% L$ 5Poetic% and 'erformance a% critical per%pective% on lang*age and %ocial li+e5$ Hnnual :eview of Hnthropology$ Eol$ 8V "MV JJ&, 8VV($ Print$ !ACS<F, Xohn Co#art$ =e >ue riem os *-Aias<frias*.L 2alter @enBamin e o teatro "pico %e @recht em carrocerias %e caminhMes. 3e%e "Livre !oc?ncia& PPGAS/FFLC;, Univer%idade de S2o Pa*lo, S2o Pa*lo, 8VVV$ Print$ !ACS<F, Xohn$ PO teatro do% WBoia% Fria%L9 Repen%ando a antropologia da per+or,ance$S

Hori?ontes HntropolAgicos$ UFRGS$ IFC;$ Ano 88, n$ 'I$ Porto Alegre9 PPGAS, '((M$ Print$ G<<R3[, C$ H interpreta9No %as culturas. Rio de Xaneiro9 [ahar, 8VKJ$ Print$ GOFFGA0, <rving$ PFooting$S 6n RIB<IRO, B$3 \ GARC<[, P G$"org%$&$ 4ociolingJKstica 6nteracional$ '$ ed$ S2o Pa*lo9 Loyola, 8VVJ$ "Original,ente p*-licado e, Se,iOtica 'M9 "8 'V&, 8VKV&$ Print$ SC;<C;0<R, Richard$ 3nvironmental Theatre$ 0e# For69 ;a#thorn Boo6%, 8VKU$ ///$ @etween Theater an% Hnthropology$ Philadelphia9 Univer%ity o+ Penn%ylvania Pre%%, 8VJM$ Print$ ///$ PRit*al, Eiolence and Creativity$ In LAEI<, S,adar, 0ARAFA0, ]irin, and Renato ROSAL!O OreativityGHnthropology$ Ithaca9 Cornell Univer%ity Pre%%$ "'V) U'(&, 8VVU$ Print$ SILEA, Rita de Ccia Oenning da$ PS*perar no Govi,ento$ <tnogra+ia de per+or,ance% de pirria% e, Reci+e e ,ai% al1,S$ 3e%e, PPGAS UFSC, '((J$ Print$ 3UR0<R, Eictor C$ / processo ritualP estrutura e antiestrutura$ PetrOpoli%9 Eo.e%, 8VKI$ Print$ ///$ PSocial !ra,a% and Storie% A-o*t 3he,S, GI3C;<LL, C$ X$ 3$ "ed$&, /n 8arrative, Chicago e Londre%, Univer%ity o+ Chicago Pre%%, 8VJ8$ Print$ ///$ P!e#ey, !ilthey, and !ra,a9 an <%%ay in the Anthropology o+ <:perienceS, In 3UR0<R, Eictor C$, e <d#ard BRU0<R "ed%$&, The Hnthropology of 3xperience, Ur-ana e Chicago, Univer%ity o+ Illinoi% Pre%%, 8VJ)$ Print$

///$ P3he Anthropology o+ Per+or,ance$S In9 The Hnthropology of 'erformance$ 0e# For69 PAX P*-lication%, 8VJK$ Print$ ///$ The Hnthropology of 'erformance. 0e# For69 PAX P*-lication%, 8VJJ$ Print$ ///$ PAre there *niver%al% o+ per+or,ance in ,yth, rit*al and dra,aNS$ In9 SC;<C;0<R, Richard and APP<L, Cilla$ @y means of performanceL 6ntercultural stu%ies of theatre an% ritual $ Ca,-ridge9 Ca,-ridge Univer%ity Pre%%, '((8$ Print$ :esist;nciaG:"sistance$ Collection o+ P1 no Ch2o$ '(()$ !E!$ U,a C*lt*ra de Re%i%t?ncia$ Fil, Availa-le at9 http9//###$yo*t*-e$co,/#atchNv^gGv7+_gvSo( = http9//###$yo*t*-e$co,/#atchNv^aM(-r#])IB( and http9//###$yo*t*-e$co,/#atchN v^C+SVUCSnd6I Fiapinho$ Open intervie# recorded on ,in dv$ Rita de Ccia Oenning da Silva$ '((K$