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1987 » Brazil » Stage and costume design
Brazílie
In a country with an area of nearly nine million km2, with a population of over 130 million inhabitants, we do not have any school that specializes in forming stage designers or theatre technical workers. Most stage designers come from courses like architecture or art and through experimenting and attempting end up specializing in the area. From the nearly 200 theatre halls existing in the country, 90 % of which in Sao Paolo and Rio de Janeiro, less than 10 % of them provide the basic requirements for major scenographie projects. In Brazil we have very few fixed companies: only two or three groups have been able to keep together for two or three consecutive productions. To the exceptions belong The Stable Company of Repertoire (Companhia Estável de Repertório) with six productions and The Centre of Theatrical Research (Centro de Pesquisas Teatrais) with four productions. Most of the times when the production manages to keep the same group, it does not manage to keep the same stage director. Perhaps because of all the problems and hindrances, the Brazilian stage designers have developed a certain versatility and creativity. What we are presenting at this Prague Quadrennial is the work of stage designers that belong to the same theatre company. The group is still in the establishing phases and, therefore, still unable to define its own characteristic line of work.
In a country with an area of nearly nine million km, with a population of over 130 million inhabitants, we do not have any school that specializes in forming stage designers or theatre technical workers. Most stage designers come from courses like architecture or art and through experimenting and attempting end up spezializing in the area. From the nearly 200 theatre halls existing in the country, 90 % of which in Sao Paolo and Rio de Janeiro, less than 10 % of them provide the basic requirements for major scenographic projects. In Brazil we have very few fixed companies: only two or three groups have been able to keep together for two or three consecutive productions. To the exceptions belong The Stable Company of Répertoire (Companhia Estável de Repertório) with six productions and The Centre of Theatrical Research (Centro de Pesquisas Teatrais) with four productions. Most of the times when the production manages to keep the same group, it does not manage to keep the same stage director. Perhaps because of all the problems and hindrances, the Brazilian stage designers have developed a certain versatility and creativity. What we are presenting at this Prague Quadrennial is the work of stage designers that belong to the same theatre company. The group is still in the establishing phasis and, therefore, still unable to define its own characteristic line of work.
