Julia

With the assemble of Julia begins a new trilogy, which starts from classical texts for the dramaturgical construction and investigates the integration of theater and cinema on the scene. In previous works, the artistic proposition was to transform a material that departed from reality into a fictional material. From Julia, the question becomes “introjecting” the “reality” into a preexisting fiction; in this case, the text Miss Julia, by August Strindberg.

In Julia, the theater is integrated live and the cinematographic structures are exposed. With pre-filmed footage and live footage, the film is built in the presence of the public every day. The actors make a movie and at the same time act as the characters of fiction. The setting consists of split movie screens, which move during the action, revealing parts of a bedroom and a kitchen, sets for live footage. The projectors follow the movement of the screens, creating a movie in motion. At the beginning of the play, some scenes being shot and projected simultaneously are seen through the gaps of the panels by different parts of the audience, but as the action progresses the panels flip open what was behind the screens, in a direct analogy with what is happening with the characters / actors themselves.

This is the first work that integrates video projection and camera to the scene. The video projection and the presence of the cameraman are deeply linked to the dramaturgical construction. There are pre-shot scenes, which were shot in real locations, and timed footage shot simultaneously. The film is assembled in real time, and as in a film set, it is cut and redone sometimes, in multiple takes, either through the command of “action” and “cuts” of the cameraman, or by the relation of the actors, by becoming more extreme, it breaks “fiction”, generating new interpretive layers. Like the “fractures” existing in acting and space, the movie screen is also split, sometimes composing a large screen of 16:9 and in others forming two screens of 4:3, with different and simultaneous video projections. The various layers – space, acting, the junction of the theater with the cinema – in their overlaps converge to create a third and only zone, which reveals the structures of the scene, the cinema and also the actors / characters.

For this work was necessary to find a performance that “fit” in both media simultaneously, without losing the restraint revealed in the approaches of the camera and the explosions that “break” the screen and flood the theater. The real time of the scene, the parts of the bodies in motion leaking through the cracks of the scene, added to the big screen of cinema that shows the details provoke a visceral reality that goes to meet the concept of the assembly, transforming in image and action the content of the piece , which brings the conflict to Brazil today. If Strindberg put a magnifying glass in the relationship of two beings so different and close in the nineteenth century, here, through the camera, the permanent presence and testimony invade and build together with the audience the scenic and filmic events.

Premiered at the Sesc Copacabana Space in Rio de Janeiro in November 2011 and at Sesc Belenzinho in São Paulo in October 2012. Winner of the Shell Best Director Award in 2012.

Festivals and international venues : Kunstenfestivaldesarts (Bruxelas/Bélgica), Wiener Festwochen (Viena/Áustria), Zurcher Theaterspektakel (Zurique/Suíça), Noordezon Performing Arts Festival (Grooening/Holanda), Temps d’Image (Le CentQuatre – Paris/França), Festival de Keuze (Roterdã/Holanda), Künstlerhaus Mousonturm (Frankfurt/Alemanha), Festival Temporada Alta (Girona/Espanha), Centro Dramático Nacional (Madri/Espanha), REDCAT (Los Angeles/EUA ), On the Boards (Seattle/EUA ), Teatro Piccolo Arsenale – Bienal de Veneza – Veneza/Itália), Théâtre La Rose des Vents (Lille/França), Teatro Maria Matos (Lisboa/Portugal), Festival Le Batiê (Genebra/Suíça), Festival Um alles in Der Welt – Die Lessingtage – Thalia Theater Gauss (Hamburgo/Alemanha), Bonlieu Scène Nationale (Annecy/França), Le Carré des Jalles (Saint-Médard-en Jalles/França), Théâtre d’Hérouville-Saint-Clair (Caen/França), Espace des Arts Scène Nationale (Chalon-sur-Saône/França), Lieu Unique (Nantes/ França), Espaces pluriels (Pau/França), Teatre Jarazca ‒ Nowa Klasyka Europy Festival (Lodz/Polônia), Centre National Dramatique de Haute-Normandie (Rouen/França), Théâtre Populaire Romand (La Chaux-de-Fonds/Suíça), MITsp Festival Internacional São Paulo (SP/Brasil), Festival Porto Alegre em Cena (RS/ Brasil), FIAC Salvador (BA/Brasil), Festival de Teatro de Recife (PE/Brasil), Festival de Curitiba (PR/Brasil), Galpão Cine-Horto (Belo Horizonte/Brasil).

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JULIA

By Christiane Jatahy
Based on the text Miss Julie by August Strindberg

Design, Direction and Adaptation CHRISTIANE JATAHY
With Julia Bernat and Rodrigo Dos Santos

Stage design conception Christiane Jatahy and Marcelo Lipiani
Stage design direction Marcelo Lipiani
Photography and movie camera David Pacheco
Live camera Paulo Camacho
Lighting design Renato Machado and David Pacheco
Costumes Angele Frós
Soundtrack Rodrigo Marçal
Body training Dani Lima
Video system Julio Parente
Video Operator Francesca Berselli
Lighting and sounding Operator Leandro Barreto
Stage Manager Thiago Katona
Movie cast Tatiana Tiburcio
Production and tour manager Claudia Marques and Henrique Mariano

The tour is supported by the CENTQUATRE on the road