Confesso que Capitu

 

21st Century A woman seeks to unveil desire. Alone, in front of a computer, she  searches to identify her yearnings. In the virtual web, among feminine myths and goddesses, she finds the biased and dissimulated eyes of the most enigmatic character of the Brazilian Literature. "Capitolina", the sign of the most desired woman, fascinates the narrator, an so she translates to her own life the challenge to become "Capitu". These women meet and net the audience in their intimacy with sensuality and grace. Together, the narrator and her electronic paraphernalia, Capitu and hers, excerpts from Dom Casmurro, and the spectators, need to untangle from stories equally intertwined, surpassing the dissected question of the infidelity of the work, and transforming the action in a confession of sensations.

These multiple women are performed by the actress Elisa Lucas, oriented by the actor and director Roberto Birindelli, who also plays multiple Personas in "Il Primo Miraculo".

 

This spectacle is the result of the dramatic construction research by the actor from the scenic transposition of a literary character. This construction has its foundation in the invitation the actress makes to the spectator so that he embarks in her imaginary, building a mutual relation between the artist and the audience.

 

Concept 

 

Tying the Ends of Life...

From the metaphorical premise proposed by the romance, where Bento Santiago writes the work to tie two ends of life, the actions of Capitu were built from strings, representing these ends, the fabric of this characters life, that visually binds the imaginary of the spectator. As such, part of the scenery is composed by strings, that become part of the scenic space.

 

In the monologue. the actress goes between the Narrator and Capitu, doing different modulations of energy, body focus and vibrations to differentiate the two characters and to highlight Capitu's five stages: infancy, adolescence, maturity and old age.

 

Critics 

 

(...)... let it be highlighted that the girl has competence and potential and is able to, very naturally, grab everyones attention during the job... It's good work that deserves plaudits. (...) AntonioHohlfeldt, Jornal do Comércio, 2004.

 

(...) It's hard to make an intelligent adaptation of such an important and fascinating book the stage. But Elise deals with this difficulty very well. With ingenuity, she incarnates many aspects of this seducing, unhappy woman, that blows away the psychological conflict of poor Bento Santiago.(...)

 

Marcelo Frizon, Master in Brazilian Literature, 2008.

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