This weekend Prisma receives Julia Brito’s After Morrer a performance, in which we roll in a passage between death and imagination.
Tickets: 8 € (preço geral)
Synopsis: What if I die? What if I died today? And if I died tomorrow, what would I do today?
After Dying is a spectacle in which Death is the starting point for looking at Life. What do I make of my life by watching – and living – my own death?
If for Neuroscience, “to imagine is almost to practice”, what potential changes does this experience arouse?
Performance 1 // 13.11. – 6 pm – 10 pm
Performance 2 // 14.11. – 6 pm – 10 pm
*** Doors open 6 pm – Performance 7 pm ***
• • • Depois de morrer • • •
Depois de morrer is a performance in which Death is the starting point for looking at Life. One day, Luísa wakes up and realizes that she is dead. It is the possibility of a new beginning, of looking urgently at life itself.
Although there are other interpretations of the concept of death beyond the biological sense, death, at least for the physical body, is an irreversible process. From the concept of something immutable, the show Depois de Morrer has its starting point.For Montaigne, “to philosophize is to learn to die”. For the French philosopher, the more we think about death, the more we will be accustomed to this event, in such a way that, by thinking about it so much, there will come a point where we will feel that death is inevitable and we will become free. Espinoza, in his book “Ethics”, proposes that “there is nothing in which the free man thinks less than death; and his wisdom is not a meditation on death, but on life”. In this sense, the dramaturgy of the show, based on improvisations of key situations that guide the central character Luísa, follows these two paths proposed by philosophers. Luísa starts the show imagining her own death and “living” it after dying, until she discovers that her anxieties were not about death, but about life.
According to Brazilian neuroscientist Roberto Lent, to imagine is almost to practice. Imagination is an important step in learning, training. If someone, for example, imagines themselves riding a bicycle, their brain areas that are going to be active are very similar, practically similar to those that are active when the individual is actually riding a bicycle. Still, for the Portuguese neuroscientist António Damásio, beings favored by consciousness establish a communication between the world of automatic regulation and the world of imagination, opening the way to the creation of original responses in an environment for which this organism is not prepared in terms of automated responses. In this sense, the entire investigation of the show Depois de Morrer takes place in the concrete present, in reality, in line with the central character’s imagination, which is developed at the same time. The exercise of imagining is established as a transforming power, a source of learning, new experiences and decisions.In this sense, the dramaturgy of Depois de Morrer is authorial and focused on the present moment, inserting the participation of audiences and dialoguing with the uniqueness of each presentation. Starting from individuality, the dramaturgy of the show Depois de Morrer it walks towards finding the convergences between the individuality and the universality of the theme. It is intended that each show is presented with the perspectives of that specific day, where the dramaturgical text, interpretation and staging are guided by the particularity of each day, potentially meeting the concept of theatrical event: unique, unrepeatable, focused on the here- now.
Through written and anonymous testimonies, it is proposed to share reflections and deep feelings of each spectator, respecting the individuality and intimacy of each one through the confidentiality of these testimonies. Each spectator will receive a pen and paper to interact with the show.In parallel, the work “Posthumous Memories of Brás Cubas”, by Machado de Assis, one of the main works of the Portuguese Language, indicated by the National Reading Plan, has Brás Cubas as the central character, a “dead author” who narrates with irony and pessimism in their life memories, stressing their failures and emphasizing that the “small balance” of life was not having had children, that is, not having transmitted “to any creature the legacy of our misery”.
That said, the objective of Depois de Morrer is to dialogue with the imagination of the central character and the audiences through issues related to Death, opening up new possibilities for looking at Life. It is intended that the balance of these reflections is not the same as that of Brás Cubas, looking at his own life as a failure, but the certainty that he enjoyed life and lived completely.
Duration: approx. 50 minutes
Creation and Interpretation: Julia Brito
Scenography and Costume Design: Daniela Viçoso
Graphic and Photography Designer: Mariana Zancheta
*** Doors open: 6 pm – Performance 7 pm ***
• • • ARTISTS • • •
Julia Brito (1990, São Paulo) is an actress and creator with a degree in Arts Stages by the State University of Campinas, Unicamp – Brazil. Your academic training also has two exchanges in Theater: one at Évora University, another at Goldsmiths College (London), and a scientific initiation funded by FAPESP (Fundação de Amparo à Research) entitled “The comic solos of Marcelo Médici in the show Each one with their poverty.” In the last fifteen years she has performed several formations in Theatre, Dance and Dubbing and Original Voice with names like João Mota, Helena Varvaki, José Jorge Duarte, Edna Jaime, Cláudia Gaiolas, Raquel André, Dorys Calvert, João Grosso, Tatiana Motta Lima, Joana Pupo, Andreas Simmas, Georgette Fadel , Bosco Brasil and Melissa Garcia. She has performed in theater shows such as Antigona, The marriage of the petty bourgeois, An enemy of the people, The proposal for marriage, Boca de Ouro, working with artists such as João Mota, Verónica Fabrini, Cristina Carvalhal, Marcelo Lazzaratto, Matteo Bonfitto and João Grosso. She has worked as a theater teacher with children, teenagers and adults in several cities in the State of São Paulo and in Lisbon, going through experiences as a stage director, playwright and light designer. She was awarded for her first solo at the I Festival de Monólogos Cénicos Faccamp with her solo Chão de Geleia. She joined the cast of short films as an actress and presenter and dubbed the film Pieles, by Eduardo Casanova, for NETFLIX. She is currently developing the solo show After Morrer with two more artists on the team, with a debut scheduled for the last quarter of 2021.
Daniela Vicoso (1990, Faro). Degree in Painting by the Fine Arts of Lisbon and Master in Design Communication: Illustration by Kingston University, London. Artist in the program COMedu: Comics for Education (2019-2020), creating exhibitions and workshops around comics. Commercial illustration – GERADOR Magazine, CAIS, Emergency Exit Editor, International Festival of the Iberian Mask. Bronze Award at the Japan International Manga Award with “Cantiga d’Erasmus”.
Mariana Zancheta (1989, Campinas). She has a degree in Visual Arts from the State University of Campinas and has a specialization in graphic design from CalArts, through the Coursera platform. She photographed the show “Of all times, history is made“, elaborated the graphic project of musical albums, such as “Certos Tipos e sua songs”; arts for several shows at the school and dance company Banana Broadway and created the logo for “Norteador Magazine”.
Apoios: Polo Cultural Gaivotas l Boavista, Câmara Municipal de Lisboa, Lugar Específico, Prisma Estúdio Lisboa
• • • PLEASE NOTE • • •
Due to the new restrictions this event can just be visited by people who are fully vaccinated or who can present a negative covid test.