A person falls from the top of a building and does not reach the ground. Years pass and the entire lives of the residents of this building are frozen in their own traumas while that body remains in suspension. After 33 years, that body is still falling and the stories of each resident are tying together in unusual ways. Trapped in a kind of "personal black hole", the characters experience a moment that does not end, going around in circles and ignoring their surroundings.

It is a fable about the sense of suspension and general paralysis in a contemporary world. Through the excess of possibilities and the infinite paths to be covered in a second, one stops in front of everything and begins to trace a circular path within his stronghold that, many times, gives the impression of a life, but, in fact, is an echo of themselves. As long as we don't touch the ground, everything else is an encounter. An encounter between strangers in full fall.

Eight seasons between São Paulo/SP and Santo André/SP. It was contemplated by the public notices: 24th Promotion to the Theater for the city of São Paulo; PROAC Circulação 2015 and Ocupação da Caixa Cultural in 2017. Nominated for the Aplauso Brasil Award for best lighting and scenic architecture.

Concept and Script – Verônica Gentilin.       Dramaturgy – Cia. Mungunzá de Teatro e Luis Fernando Marques      Director – Luiz Fernando Marques.      Assistant Director – Paulo Arcuri.      Cast – Sandra Modesto, Verônica Gentilin, Virginia Iglesias, Leonardo Akio, Lucas Beda e Marcos Felipe.     Performance Technician – Pedro das Oliveiras      Soundtrack & Composer – Gustavo Sarzi.       Lighting Designer – Pedro Augusto.      Set Designer – Cia. Mungunzá de Teatro, Luiz Fernando Marques e Paulo Arcuri.      Art Director & Costumes – Valentina Soares.     Video – Lucas Bêda.     Executive production – Sandra Modesto e Marcos Felipe.     Production – Cia. Mungunzá de Teatro.      Photographer – Mariana Beda.     Press Office – Nossa Senhora da Pauta.      60 min.        Recommended for ages 16+

"The displacement through space makes the dynamics of this drama very special. [...] The play is performed on a scaffolding structure that moves across an empty room and spins with the performers actively moving the structure. There is no motor, there are only the forces of the arms giving the necessary impetus to a choreographic creation. The scenario refers to the design of a building, and the movement of actors between the apartments, shapes the performance. [...] The risk, always imminent, is to transform the play into a hopscotch game, all logical and geographical, when it seems to propose something organic. The variations are numerous […]"

Gustavo Fioratti

 

"When considering the performance, it is necessary to highlight the cut created by the set of almost 10 metres and its movement. The whole show is in it, in the apparent hardness of the metals and the swings that defy the ground. Not even five minutes or ten, or forty or the entire show is enough for the points of view to materialise. The combinations are countless. The versatility of the set, shaping itself into itself, even creating the illusion that the floor can also rotate in any direction.”

Leandro Nunes | Estado de SP

 

"In the midst of this grandiloquence, subtle details such as the popcorn machine that serves as a camcorder, or the red light that dances in the background give the staging a playful, theatrical air, which beautifies it even more. The actors' work is also worth noting, especially the interaction between Gentilin and Marcos Felipe in the delicate scene of her father's death, or the finale with all the cast – the simplest and (perhaps precisely because of this) most powerful of the show.

When the collective, in a show that talks (not only) about distance, decides to tear down the fourth wall and speak directly to the audience, there is a note of optimism, as if there were some way to reverse this process of impoverishment of relationships that contemporaneity has taxed us with. Perhaps theatre is a way of fighting it.”

Fernando Pivotto | Aplauso Brasil