{"id":9397,"date":"2021-10-25T10:02:26","date_gmt":"2021-10-25T13:02:26","guid":{"rendered":"https:\/\/grupomatulateatro.com\/?page_id=9397"},"modified":"2025-06-18T10:42:16","modified_gmt":"2025-06-18T13:42:16","slug":"agda","status":"publish","type":"page","link":"https:\/\/grupomatulateatro.com\/en\/agda\/","title":{"rendered":"AGDA"},"content":{"rendered":"
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RELEASE<\/h1>

A result of the solid partnership between the groups Matula Teatro and Boa Companhia (Good Company in Portuguese), the show AGDA addresses fundamental human existence issues, such as the finiteness of life and the seeming incompatibility between body and spirit desires, between sacred and profane, recurring topics in Hilda Hilst\u2019s work.<\/p><\/div>\n\t

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The cast plays female and male characters \u2013 in an archetypal scale, anima and animus \u2013 embodying these two opposite and complimentary energies. In the unbalanced modern world, animus oppresses anima, resulting in such a violence that permeates the relationships between people and between people with nature. \nIt is against this state that the feminine, lyrical and anguished voice of AGDA poses itself on the affirmation of her singularity, in the demonstration of her \u2018non-violent power\u2019, in the eternal Search for knowledge, making the challenge of assembling the text nowadays even more valuable.\nIt premiered in 2011 and, even after 10 years of existence, it makes its subject extremely urgent and contemporary. The performance has travelled through several cities and states in Brazil (through projects involving SESCs, Sesis, Festivals and Proac Public projects), as well as shows in \u00c9vora, Portugal (through the Internationalization programme by the no longer existing Ministry of Culture).<\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><\/div>

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SYNOPSIS<\/strong><\/p>\n

A timeless fable of tragic character, AGDA show is an adaptation of Hilda Hilst\u2019s namesake tale. The story of the taboo-breaking Woman who brings her community\u2019s full wrath down, serves as a metaphor for a discussion over the contemporary world, whose patriarchal and violent logic does not give space to kindness or care. To that end, the enactment combines dance and drama elements, shifting through prose and poetry, in a delicate play of image and characters.<\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div>

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Cast: Alice Possani, Erika Cunha and Ver\u00f4nica Fabrini<\/p>\n

Original Text: Hilda Hilst<\/p>\n

Diretion and Adpatation: Moacir Ferraz<\/p>\n

Lighting Design: Moacir Ferraz<\/p>\n

Figurinos: Juliana Pfeifer e San Pestana<\/p>\n

Scenographic Technology: Juliana Pfeifer<\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div>

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Soundtrack: Mauro Braga and Silas Oliveira<\/p>\n

Photography: Maycon Soldan<\/p>\n

Produ\u00e7\u00e3o: Matula Teatro<\/p>\n

Provided by: Matula Teatro Group and Boa Companhia<\/p>\n

Length: 60 min<\/p>\n

Age Rating: 18 years old<\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><\/div>

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Who was Hilda Hilst?<\/strong><\/h2>\n

Hilda Hilst (Ja\u00fa, April 21st, 1930 \u2014 Campinas, February 4th, 2004) was a Brazilian novelist, chronicler, playwright and poet, considered by the specialized critics as one of the biggest Portuguese language writers of the 20th century, who reported the fragile and surprising human condition in her work, merging sacred and profane, real and imaginary.
\nIn 1965 she moved to Campinas, starting up a type of creative haven, which she called CASA DO SOL (\u2018Sun\u2019s house\u2019 in Portuguese). There, Hilda dedicated herself exclusively to her literary work, producing more than 80% of her work. Nowadays, Casa do Sol is known for hosting an archive of her memory as well as the the Hilda Hilst Institute.
\nShe was honoured as an author at FLIP 2018 (International Literary Festival of Paraty, Rio de Janeiro) and was granted awards such as Jabuti, APCA (Associa\u00e7\u00e3o Paulista dos Cr\u00edticos de Artes \u2013 Art Critics Association of S\u00e3o Paulo State), Pen Clube S\u00e3o Paulo and Cassiano Ricardo. Her work has been translated to English, French, Spanish, Basque, German, Italian, Norwegian and Japanese, and she is considered to be one of the biggest Brazilian female authors of the 20th Century.<\/p>\n

Critics<\/strong><\/h2>\n

\u201c\u2026the strength of the words uttered by the vigorous interpretation of the three actresses hits us as if we were still leaves that had been shaken by gale.\u201d (Ednaldo Freire)
\n\u201cThe powerful dramaturgical transcreation (\u2026) not only maintains the hybrid nature of Hilda Hilst\u2019s tale \u2013 in which the dramatic, narrative and lyrical aspects blend \u2013 as it also, still, conserves all the intensity of its writing, acquiring precious nuances throughout the game between poetry and the bodies that transit through the male and female energies, the human and the animal, the profane and the divine.\u201d (Nina Caetano)
\n\u201cVery successful show. The Direction is remarkable for its drama design and actresses managing. Good interpretations, good body mastering. A serious work, which is always a pleasure to watch.\u201d (Roberto Lage)<\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><\/div>

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