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The lack that moves us


Cia Vértice names a process of continued research. It is not a company in the traditional sense of the term with the same actors in each play, but a “space” for experimentation and exchange with some artists in the creation of works.

Each work that I create brings the thread of the previous one, like a big ball in which at the end is the desire to continue experimenting with some artistic issues and the use of certain devices for creation. As if the previous work somehow opened the door to the next one, or was the same from new points of view. My creative process is continuous, whether in working with the actors and in the permanent reflection on the plays that have already been premiered, or in the investigation for new creations, which can come through the encounter with an existing text that dialogues with the research, in the interest of a certain author of theater or literature, or from an original idea. This “original” always has as its starting point the here and now, the vertiginous and incredible fiction present in the real. Life is inexhaustible as inspiration and our exercise is to go back to reality and back to fiction. Bringing a magnifying glass closer to reality to find in it the unpredictable and surprising of ourselves.

2005/ 2009 – THE PIECE

The lack that moves us is about family and its relational systems and the relationship of family histories with the experience of a generation of which I am a part. relationship between actor and character and theater and performance, so from the beginning I had the idea that the play would be a “non-play”. The proposition was that the actors could not start the play because someone was missing, and what happened on stage was a meeting of those actors with that audience in the theater, in the here and now, living with the absence. Everything should “be” (or “seem”?) spontaneous. The play time was the real time of the action and while they prepared dinner, they drank a few bottles of wine and chatted with each other and with the audience. The drink provoked an alteration of the actors’ states in reality and also in fiction and, with that, relations became extreme and conflicts between them gained strength. They called each other by their names and it was purposefully unclear whether what was happening was personal or not. It made the audience feel like they were watching something that wasn’t meant to be seen. Something that got out of control. Something really “real”, even if it was a game about what is real.

The dramaturgy of the play was a large “family” relational system, a kind of family of friends of the same generation, and as in any intimate encounter, stories were remembered, childhood memories came to light and with them the period of the dictatorship and the absences. family members that this period directly or indirectly caused.

After 3 years of seasons and participation in festivals in Brazil and abroad, we filmed in a unique cinematographic experience the film “The lack that moves us”

2008/ 2012 – THE FILM

The film turned into an experience of language even more radical than the play. Mixing the language of documentary with fiction and breaking the boundaries between reality and creation.

Ten devices were created for the filming:

  1. five actors.
  2. a single lease.
  3. thirteen continuous hours of footage.
  4. three simultaneous cameras.
  5. Directed actors during filming via text messages.
  6. Actors wait for a person they don’t really know if he or she will come.
  7. they follow scripts, but do not know each other’s scripts.
  8. they really eat, cook and drink.
  9. some stories are real, others are made up.
  10. No one can leave no matter what.

We filmed on Christmas Eve – from the night of December 23rd to the morning of the 24th – a Christmas of close friends, in which memories and revelations come to light. There were 13 hours of footage that resulted in 39 hours of raw footage. It took me a year to study, splitting the scenes second by second, and editing to transform these 39 hours into 2 continuous hours, with no apparent ellipses of passage of time, so that the viewer would think that was exactly what happened that night. The shooting was continuous and the film looks like a long shot, but in fact it is a big patchwork that recreates an idea of ​​reality. An exercise in bending over yourself, where not everything is really as it seems.

The film traveled to some international festivals and was shown in Brazilian cinemas in 2011, and had an impressive response from the public for an authorial and experimental film, with more than 20,000 people watching in eleven weeks in theaters.


To close the cycle of this project, I decided to make a cinematic performance, showing the 39 hours filmed. We made an installation in Parque Lage, in the pool of the School of Visual Arts in partnership with Tempo Festival. We installed three movie screens next to each other, where the material from the three cameras was synchronized and I edited part of the live sound. In front of the screens we placed sofas, chairs, cushions, we released the projection at exactly the same time that the filming started and we projected for 13 consecutive hours. The actors would often say what time it was in the movie and it was exactly the same time as the audience 4 years later. During the night more than 1000 people passed by the place. Some watched many hours, others a few minutes, there were people who watched a few hours left and came back, and there was a group of people who watched the thirteen hours straight with us. It was like making the movie all over again.