Brasilia comes full circle

It’s July 2006. I’m in Brasilia, capital of Brazil (NOT Rio, but I expect everyone to know that by now), leading a workshop with my mate Marion on how to use drama techniques as a teacher of English as a Foreign Language. The workshop was part of the Braz-TESOL (Brazilian Association of Teachers of English to Speakers of Other Languages) annual convention, which we were extremely proud to be a part of as recent graduates. This, however, was supposed to be my last activity as an ESOL teacher, for, as overly dramatically announced by Marion at the start of the workshop, I would be leaving him and moving to Scotland in a couple of months. My mixed feelings of sadness and excitement were only enhanced at the end of the workshop, when one of the participants, an experienced American teacher quite a few years my senior, approached me to say thank you, ask for a book reference, and yell at me: “What the hell are you going to do in Scotland?!”, which was kinda sweet.

This was my first time in Brasilia, and I had made a point of wanting to visit my own country’s capital before setting off in an adventure that would probably take me to many intriguing foreign capitals, so I’d like to tell you a bit about it. It still is one of the most bizarre places I’ve ever been to. First of all, it’s a city that was commissioned to architects and engineers, and therefore especially designed (by the great Oscar Niemeyer) and purpose-built. This means that it didn’t develop organically like most cities and towns around the world, which gives it a sterile and somewhat intimidating character. But maybe that feeling also comes from the fact that it is the Government’s headquarters (which was indeed in Rio until Brasilia was inaugurated in 1960). Another strange thing about Brasilia is that it is definitely not a pedestrian-friendly place. Every time Marion and I asked for directions, people kept asking if we were driving and told us brasilienses were made of head, arms, and wheels. We were stubborn enough to try and walk around, but we ended up sunburnt (it was winter, but the city has been plonked in the middle of a desert and it hardly ever rains there), exhausted and almost ran over a few times. There aren’t even pavements in most areas! Other than that, it really is worth a visit. If you look at it on Google Earth from above, you can see it’s shaped like an airplane. The main Government buildings are built along the plane’s body, with the Congress and the President’s house at the ‘cockpit’, and then the rest of the city (hotels, houses, schools, etc) is methodically distributed over the north and south ‘wings’. And of course, if you are into design and architecture, all of Niemeyer’s work is a must see.

Anyway… as you know, I left Brazil and went to Scotland to study theatre. In 2007, in Bristol,  I met brilliant Brazilian dancer and choreographer Augusto Omolù, who introduced me to the work of Eugenio Barba, the Odin Teatret and the International School of Theatre Anthropology, when I was still trying to figure out the answer to that American guy’s question. And then a whole new world opened up to me, and everything that Augusto told me about his work with Barba resonated within me, like something I didn’t quite understand but felt like it was the right direction to follow. I dedicated the following years of my course to studying Barba’s practice even if it wasn’t part of my coursework, aided by lecturers from a different specialism who had introduced me to Augusto and had also collaborated with Barba in the past. The more I learned, the more interesting and confusing it all got, and I ended up using a lot of this newly acquired knowledge to write my dissertation (an analysis of the performative elements in the funeral ritual of a Brazilian indigenous tribe, if you must know).

A year and a half after I graduated, I had an opportunity to go to the Odin Teatret in Denmark for a 2-week workshop with Tage Larsen, one of their actors. Eugenio Barba wasn’t there, unfortunately, but it felt like some sort of scared pilgrimage to be in that theatre and have access to their library, videos, archives. Cheesy as it may sound, it was a dream come true. That wasn’t my last encounter with the Odin. Shortly after I was forced to move back to Brazil, I had the chance to take part in a short seminar led by Julia Varley, another legendary Odin actress, in Las Piedras, Uruguay. And then, fast forward to December 2013, the cherry on the cake: I was one of 10 Latin American directors selected to take part in a residency with Eugenio Barba himself – guess where? Yep, in Brasilia.

So that’s how it all came full circle to me. 7 years after I had been to Brasilia for the first time, just before moving to Scotland to study theatre, I was back in the capital for an intensive course led by a guy I didn’t even know existed in 2006 but was now one of my biggest role models. It was such a fantastic week, during which I felt like I was finally beginning to understand what I’d been studying for good part of a decade. And I got to sit together for dinner with Barba and Varley and tell them about my own work. Cheesy as it may sound, it was a dream come true [2].

eugenio_julia

 

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3 Comments (+add yours?)

  1. Patricia Davila
    Jun 01, 2014 @ 02:34:52

    And you call ME a stalker…

    Reply

  2. flavnav
    Jun 01, 2014 @ 18:49:24

    :p

    Reply

  3. Trackback: Brasilia comes full circle | Tinseltown Times

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