Glauber Coradesqui is researcher e theatrical author, professor of Instituto Federal Fluminense, in Rio de Janeiro. With a master's degree in Arts by Universidade of Brasilia, and author of "Experiência e Mediação de Espetáculos" and "Canteiro de Obras: notas sobre o teatro candango".







The “Teatro Concreto” came into the world hand in hand with the 21st century. Engaged in the genuine curiosity of all processes of artistic invention, it made its existence from an affirmative positioning on the issues and, mainly, on the contradictions of the beginning century. They blossomed together. In almost two decades, different notions emerged such as post-dramatic, performative, representativity, place of speech, decolonization, and so many other ideas that would change the course of contemporary theatrical practice (and way of thinking about it) as well as behavior and social interaction practices.


In order to be configured as a collective, Teatro Concreto assumed several of these values and paradigms. We are not necessarily speaking of style, but of intention: the use of the actors' personal testimony as the generator of dramaturgy, the political and aesthetic option through the collaborative process, the questioning of the truism of the spaces formatted in their utilitarian functions, the staging in the urban space as strategy of evoking memories and landscapes lost or buried, destabilization of the traditional supports of the scene. Procedures for an investigation engendered by artists interested in doing theater and learning to do theater together.


Learning, for us as Latinos, is an adventure of resistance. Our remnants of colonization tend to confuse our processes of identity autonomy in a kind of fiction about the nature of power, where the power to act is taken as a capacity outside the will. In this sense, anthropophagy operates as a key device in the research and learning processes of the group, taking its concrete force "to the edges of power or desire" (to quote Gilles Deleuze) and positioning this force "against all importers of canned conscience "(To quote Oswald de Andrade).


The group devoured, in the adventure of learning and resisting, the Teatro da Vertige, the Teatro Oficina, the images of Kazuo Ohno by Pina Bausch, the insistence of José Perdiz, candomblé and so many other warriors, placing their creations at the same time near and far from their ancestry. With each work, the Teatro Concreto exposes its roots: South American, peripheral, mixed, syncretic. It looks at the territory that occupies [Brasil / Brasília] not only in its political dimension, but also in the perception of the seismic waves generated by the dynamics of its people, its relations with the traditions, the collective practices of occupation of the lands and streets. In the mythical group, every creator is both an anthropophagist and a seismographer.

In the field of acting and directing, creating is not exactly an act in its pure action sense, but an attitude. Attitude is an Italian word originally used to designate the posture of a figure in a painting or sculpture. It is, therefore, etymologically associated with the capture of the expressiveness of a body in performance, an engaged body. Whether as a chorus, as a caricature, as a feast, as vertigo or as a hypernaturalist mimesis, to act and direct in Concrete is an attitude - which, in this context, also acquires a sense of political engagement.


In the perspective of the collective imaginary about Brasília, where the monumentality of the city allegorically symbolizes the inertia and lack of this attitude (which overflows in the creations of the group), we understand more clearly why the choice of the name Concreto is an affirmative concept. And why the group led the movement of resistance to the permanence of the Teatro Oficina Perdiz in its territory of origin. Or why they made the first official meeting a dramatic reading of Plinio Marcos's "Unhelpful song and useless mourning for the fallen angels" in the light of the reflectors of the Pantheon of the Motherland, ironically demarcating his desire of belong.


Maybe this is it: The Teatro Concreto makes theater to belong; a belonging that is critical and deterritorializes, which decolonizes the blanks promoted by History and Modernity. The teatro Concreto reveals submerged and ugly marginal beauties. It mobilizes the spectator to put his own body into play, leading the discovery that watching is also an anthropophagic and seismographic attitude. The encounter with the other on the scene is always a revelation: of itself, of the territory and the contradictions that put us together in this space-time century. As long as there is memory, there will be struggle; while there is struggle there will be theater. "Last year I died, but this year I do not die."

Glauber Coradesqui


* Final sentence taken from the song "Sujeito de Sorte" by Belchior.






Several Presentations in the cities of Florianopolis (SC), Salvador (Ba), Curitiba (PR) and Porto Alegre (RS) sponsored by BR Distibuidora/Petrobras. Organization of an Education Programme based on the play and aimed to reach those with limited visual and hearing ability.


Opening of the play “Festa da Inauguracao” in the SESC Ponpeia theatre in collaboration with Joao Dias Turchi, Guilherme Bonfanti and Andre Cortez.


Brasília, Brasil