The performance intends to highlight the playwright’s proposal, navigating through the different points of view that form this family’s relationships: subtleties between mother and daughter, the couple’s matches and mismatches, the proximity and disconnection relations between father and daughter, the perspective over a life experience that changes throughout the time.
Another element present in the text that served as a reference for the performance is a cyclic timely perception, that reveals itself in different manners: in the repetition of the female name in the family; in the mother always losing her sewing thimble; in the fights that usually happen on Fridays and the days of love, always on Tuesdays; in the act of waiting for the daughter which somehow resembles the mother’s waiting routine, among other details.

However, throughout all the developing construction of the show, observing the Brazilian reality, the actresses took their time to study and update some situations on the text, including some information about the situation of women who have suffered violence in Brazil, once the text is from 2003 and had been situated in Madrid, Spain.
It is at this point that, one more time, Matula brings up a point of view that is connected to the national reality and articulates what is real with what is theatrical, always keeping in mind the activist potential that drama holds and this way unveiling on stage the feminicide epidemic that we currently witness in Brazil.

SYNOPSIS

Two women, separated in time and space by eighteen years. One of them speaks to her daughter, a girl who plays near her mother’s sewing appliances. The other one waits for someone who’s coming while she rehearses the words that will be said on a recorder. Gradually, a story of violence emerges from the silences, as many others, taking turns between divergence and tenderness, rude words and love acts. This movement – apparently circular – actually reveals itself as a coil, in which the violence intensity slowly reaches higher levels.

Cast: Alice Possani and Erika Cunha

Director: Verônica Fabrini

Soundtrack (composing and live execution): Dudu Ferraz

Matula Teatro Group’s Playwright, from Gracia Morales text

Iluminação e cenotécnica: Eduardo Albergaria

Costume Design: Anna Kühl

Provocation in topics: Stella Fisher

Production: Carolina Baraglio and Dudu Ferraz

Executive Production and Press Agent: Carolina Baraglio

Visual Identity: Bruno Cardoso

Photography: Maycon Soldan and Paula Poltronieri

Sewing: João Castilho

Embroidery: Anna Kühl, Amanda Pitta, Erika Cunha, Flora Armani

Audiovisual Recording: Ericson Cunha, Pedro Ribeiro and Carlos Joaquim

Image Editing: Ericson Cunha

Made by: Matula Teatro Group

AS IF IT WAS

Matula Teatro Group show, inspired by the text ‘COMO SI FUERA ESTA NOCHE’, by Spanish playwright Gracia Morales, directed by Verônica Fabrini. This piece of work premiered in March 2020 as part of an agenda to celebrate twenty years of Matula Teatro.

Sobre Gracia Morales

Gracia Morales é uma dramaturga e poeta espanhola, autora de obras teatrais como NN12, Un lugar estratégico, Como si fuera esta noche e La grieta, entre animales salvajes. Em 2000, foi a primeira mulher ganhadora do prêmio Marques de Bradomin (prêmio literário espanhol voltado para autores/autoras teatrais).
É uma das fundadoras do Grupo Remiendo Teatro e da Escuela de Teatro y Doblaje Remiendo, centro de formação cênica, referência em Andaluzia, na Espanha.
É professora titular na universidade de Granada/Es, no Departamento de Literatura Espanhola da Faculdade de Filosofia e Letras da universidade de Granada, onde leciona Literatura Hispanoamericana e Teatro.