A CORPO A FORA é uma ação de internacionalização, um exercício de imaginar e criar políticas de aproximação das artes cênicas brasileiras para além de nossas fronteiras.
Ela surge como consequência do trabalho entre a Produtora CORPO RASTREADO (corporastreado.com) e artistas das artes da cena, que realizam em parceria uma ação continuada para o desenvolvimento de suas trajetórias artísticas.
Somos uma rede de produtores/artistas que planejam, implementam e acreditam na cooperação entre os diferentes corpos como primeira matéria para a criação.
Dentro dessa perspectiva, de criar ações que possam fomentar nossos trabalhos, desenvolvemos em 2020 a ação de internacionalização denominada FarOFFa (faroffasp.com.br), e através dela realizamos diferentes formas de encontro entre artistas, público, produtores e programadores, inclusive durante o isolamento social no contexto da Covid-19, tendo como ação principal a aproximação de ideias e pensamentos acerca da internacionalização das artes cênicas brasileiras.
Acreditamos que o tempo é grande aliado dos nossos trabalhos e dos artistas que a compõem. Não estamos preocupados com estreias, mas com as urgências que afligem artistas e sociedade, no contexto ao qual estamos inseridos, pois nosso trabalho antes de mais nada é político e a arte que nos interessa não é inofensiva!
A artista coloca seu corpo travesti como sujeito e objeto de pesquisa, debatendo/denunciando a ausência desses corpos nos espaços de arte.
(2020) Corpo sua autobiografia; (2019) “Manifesto Transpofágico”; (2018) “Domínio Público”; (2016) “O evangelho segundo Jesus, Rainha do céu”; (2016) “ZONA!”; (2013) “Projeto Bispo”; (2012) “Dentro de mim mora outra”; (2009) “Nossa vida como ela é”. Na luta pela inclusão de corpos travestis/trans nas artes, buscando a naturalização desses corpos e assim, alcançar sua humanidade, para profissionalização e permanência de corpos travestis/trans nos espaços de criação artística.
follow the line
Graduating in Social Sciences. Founder of Monart (National Movement of Trans Artists), of the "Trans Representativity Manifesto" (which aims at the inclusion of travesti/trans bodies in the spaces of art creation and calls for a break from the practice of Trans Fake - cisgender artists who play trans/travesti characters).
As a transpologist (a trans anthropologist), she has studied the travesti/trans body since 2007, when she became a volunteer prevention agent for STIs, HIV/AIDS, tuberculosis and hepatitis by the municipal health secretary of Santos, working specifically with travesti and transsexuals in prostitution, the same year of her travesti perception.
This transpology points to the social, media, criminal, hyper sexualizing, pathological, religious and moral construction that permeates trans/travesti bodies, where art, and consequently, artists were/are also responsible for the construction of this common sense imagery.
The artist places her travesti body as subject and object of research, debating/denouncing the absence of these bodies in art spaces.
CORPO A FORA is an internationalization action, an exercise of imagining and creating policies of approaching Brazilian performing arts beyond our borders.
It emerges as a consequence of the work between the production company CORPO RASTREADO and artists of the performing arts, who carry out in partnership a continuous action for the development of their artistic trajectories.
We are a network of producers/artists who plan, implement and believe in the cooperation between different bodies as the first matter for creation.
Within this perspective, of creating actions that can foster our work, we developed in 2020 the internationalization action called FarOFFa, and through it we performed different forms of meeting between artists, audience, producers and programmers, including during the social isolation in the context of Covid-19, having as main action the approximation of ideas and thoughts about the internationalization of Brazilian performing arts.
We believe that time is a great ally of our works and of the artists that compose it. We are not concerned with premieres, but with what urges and afflict artists and society, in the context to which we are inserted, because our work is above all political and the art that interests us is not harmless!
Artist and researcher, Marina Guzzo focuses her creations on the interface of the body and the landscape, mixing dance, performance and circus by tensioning the limits of subjectivity in cities and nature. Since 2011, his research has focused on the climate crisis and the role of the artist in producing imagery for crossing a world in ruins in the Anthropocene. It works in partnerships with health, cultural and social assistance facilities, thinking of art as a political action that weaves a complex interspecific network of people, institutions, objects, plants, animals, fungi and landscape. Post-doctorate from the Department of Performing Arts at ECA-USP and master and doctorate in Social Psychology from PUC-SP. She is an Associate Professor at Unifesp at the Baixada Santista Campus, a researcher at the Corpo e Arte Laboratory at the Instituto Saúde e Sociedade.
My body always comes first!
Janaina Leite is an actress, director, playwright, and postdoctoral researcher at the School of Communication and Arts at the University of Sao Paulo (USP). She is a reference in the Brazilian scene for research on "theatres of the real" with works such as Stabat Mater (Shell dramaturgy award in 2020) and the project Scopophilic Essays, researching the relationship between theatre and pornography in works such as Camming 101 nights and History of the Eye - a porn-noir fairy tale. Her research focuses on hybrid languages, the obscene perspective that approaches theatre and performance, art and life, and diffuses borders between artistic practices and socio- cultural practices. Leite’s work has attracted interest outside Brazil, and she has been a guest in countries such as France, Spain, Portugal, Chile and Mexico. She is currently a part of Latin American playwrights’ program that compose the Bombon Gesell project based in Buenos Aires and is one of the Brazilian artists chosen to create an original work for the "Voices from the South" edition of The Edinburgh Festival in 2023.
Created in 2017 by performers and artists who met during the uprising of the secondary movement and the occupations of public schools in São Paulo, between 2015 and 2016. From the meeting between rebellion and theater, between formation and creation, the coletivA ocupação was born, as a territory of investigation of different languages and narratives from urgent upheavals and struggles of our time: bodies in revolt, which now occupy new spaces and narratives.
Since 2018, the group has built a course of presentations and workshops for young people, receiving grants from São Paulo city to perform at public schools and carry on they new project FESTA E GUERRA - entre levantes (PARTY AND WAR - between uprisings) while finishing the two year process of Eruption - the uprising is not over yet.
She is an artist, curator, director and researcher in theater, with
a practice and research inserted in the anti-colonial field. Lived for five years
Xingu Indigenous Park with the Kamayura and has since worked as a
supporter of the indigenous cause completing 20 years of
results. Éanda doctor
from USP/ECA where he studies Theater and Indigenous Peoples with guidance from
Prof. Doctor Beth Lopes and with publication of articles in different magazines,
such as Art of the Scene
For 18 years she has participated as an actress in different groups and shows in
national and international exhibitions. Created and active in the solo Gavião de Duas
Heads between 2016
2019 going through several festivals, such as Le Manifest
in France in 2017, where he presented
She took the shaman Davi as a guest
Kopenawa Yanomami. He performed alongside indigenous leader Ailton Krenak the
scenic experiment “The silence of the world” at the Porto Alegre Em Cena festival in
Brazilian choreographer and performer. Her creations investigate the materiality and anatomy of bodies and things, exposing textures, densities, forms, and fluids in situations that explore the borders between delight and disturbance. Through the contact-collision of different materials, she experiments logics guided by sensations and eroticisms, which often rub against meanings and social or cultural expectations. Her recent work proposes unexpected encounters between very different partners, as a way to practice political ecologies, rehearsing other forms of empathy.
She studied Law / Public Politics in Brazil, Dance and Choreography in different places such as the Essais program at CNDC d’Angers (France) and the MA SODA (UdK/HZT, Berlin). She is based in Berlin since 2021, maintaining ongoing collaborations in Brazil and other countries. Finger was a fellow of the Martin Roth Initiative 2021/2022, and in 2023 is a resident artist at Radialsystem, in the frame of Weltoffenes Berlin fellowship.
Gabriela Carneiro da Cunha is an actress, director and researcher. For the last 5 years, the artist has been developing the "Margens Project - on Rivers, Buiúnas and Fireflies, an art research dedicated to listen and amplify the testimony of Brazilian rivers that are living a catastrophe experience. This project was conceived as a response to the Anthropocene, defined here as "the moment when men no longer fear catastrophe but become catastrophe itself".
The first stage was created from the testimony of the Araguaia River and realized in
2015 with the play Guerrilla Girls or to the land there are no missing people about thewomen who fought and died in the Guerrilheira of the Araguaia. The play held performances in Rio de Janeiro, São Paulo, Curitiba, Porto Alegre and Brasília, in the year 2019, the play was presented in nine cities in the region where the conflicts actually occurred. It was a month and a half, where we held presentations, workshops and debates.
In 2019, premiered at the Mostra Internacional de Teatro de São Paulo - MITsp, the performance-installation "Altamira 2042", the second stage of this research project, this time created from the testimony of the Xingu River about the catastrophe caused by the Belo Monte Hydroelectric Plant.
The artist was awarded a Faperj scholarship to encourage artistic creation, experimentation, and research, as well as the Funarte Artistic Training Grant, Oi Futuro Artsônica Residency, and the Prince Claus Foundation and Goethe Institute for Cultural and Artistic Responses to Environmental Change.
In her career in theater and cinema, she has worked with directors such as Ariane Mnouchkine, Georgette Fadel, Cibele Forjaz, Grace Passô, Eryk Rocha, and Heitor Dhalia. In 2019, she won the Best Supporting Actress award at the Rio Film Festival.