DEFEAT
Defeat is a spectacle created virtually during the pandemics that, in 2022, premiered at the Curitiba Theater Festival. The play, based on the writings of the award-winning greek author Dimitris Dimitriádis, invites us to navigate the depths of a human being that recaptures crucial aspects of its existence, in a deep relationship between life and memory, defeat and victory, understanding and non-acceptance of the things that surrounds us and are dearest to us: our relationship with the world, our desires and powerlessness facing all of that. Defeat looks for complicity with the audience through the spoken word, the close gaze. The spectator becomes an ally of the confession that is about to be heard.
According to Dimitriádis, the characters “speak as if they were given the word for the last time (...), as if the narrator knew that every pronounced word would gradually end his opportunity to speak”. In that sense, we see a woman who pursues each word to try and translate precisely what she feels and thinks, denouncing the boundaries of her own verbal experience, at the same time, testifying to the urgency of the spoken word. Those are attempts to inscribe the self into the world, as well as records of the world of individual memory, in an insistent pursuit of the best word to translate this relationship. In Defeat, the will to change the world is not enough to modify it, just as much as the desire of expression is not enough to find the right word.
PHOTOS
TECHNICAL INFORMATION
Written by: Dimitris Dimitriadis
Direction and translation: Camila Bauer
Cast: Liane Venturella
Sound Direction: Álvaro RosaCosta
Lighting: Ricardo Vivian
Video: Júlio Estevan e Nando Rossa
Finalization: Nando Rossa
Costume orientation: Fabiane Severo
Photography: Cláudio Etges
Scene photographs: Lina Sumizono
Press: Leo Sant`Anna
Social Media: Pedro Bertoldi
Artistic production: Letícia Vieira
Production: Primeira Fila Produções
Realization: Projeto Gompa e Cia Incomode-Te
REVIEWS
Valmir Santos - Teatro Jornal
“Liane Venturella’s performance, under Camila Bauer’s direction and translating, conveys the word as an extensive organism of the gaze, beyond the senses of hearing. (...) The cadenced rhythm of the speech establishes, gradually, sensations parallel to the state of epiphany. The intuitive apprehension of reality comes from a simple realization, unexpected and maybe late, about the distance between comprehending and discoursing, as revealed in the exemplary intervention of structured deductive reasoning (...). Giving concreteness to the web of oneiric-subjective utterances is a task accomplished meticulously by the actress, the director and the crew in the Gompa Project and Cia. Incomode-Te 's co-production. Abstract images derived from literature do not come easily to scenic writing. The essentiality transmitted in all of the monologues' procedures reinforces detours from the title’s premise. It is about the itinerary of a woman that does not think of herself as a loser, nevertheless, conjugates to accept, to comply and to consent as if she followed Buddhist principles. The author and the performance do not deliver a codifiable end. The relationship of cause and effect gains a large field for the relational experience of every person that follows it.
Read it.