Project Type: LIVE PERFORMANCE

THE MOST AMAZING STORIES OF A DAUGHTER

a live performance about sugar, addiction, absence and maternal love.

While I sniff lines of sugar, the audience joins an intimate dialogue in a kitchen exchanging stories about junk food, sugar, sex, addictions, absences and maternal love.

It is a 20 micro Theater piece about a  6, 7 years girl waiting her mother come back home after work. She is addicted to TV and sugar. Her dream is to have a cooking tv program with a semi naked male assistant, like her mother who is an assistant of a famous TV program in Brazil.

This micro Theater piece discuss the relation between the affection and sugar. The social and parental relation and also the domination throughout food and sugar in a question of feelings which is also related with capitalism.

with Yunus Ersoy.

Link performance:

* This project receives funding from the Projektförderung of the Academy of Fine Arts Vienna

Venues 

2019: FACT Budapest, Budapest, Hungary. With Yunus Ersoy

2018 : Gallerie 23, Gießen, Germany. For Theatermaschine. With Yunus Ersoy.

2017:  Atelierhaus der Akademie der Bildende Künste Vienna, Vienna, Austria

2016: RAW MATTERS at Schikaneder, Vienna, Austria

REVIEWS

‘…everybody squeeze in the space and take place in a long table, or wherever they could find a place to stand. A young lady in black dress is welcoming us to her kitchen.

She is Camila at the age of 5 or perhaps 6. She’s Brazilian and her parents were good friends… After school she goes home and cook herself a meal her mother prepared before. She watches a lot of TV:

– one might not have money, but one always have TV… at least one –

When she gets bored visits her neighbor.

The audience listen to her good mood told story, laughing in a nervous confusion… is it really amusing?

A smart way to process food, to process childhood.’  Lala Nomada, performance artist.

In 2008 it was the year of my first autobiographical play, A Filha da Chacrete ( The Rockett’s Daugther). From improvisations based on objects and memories, first experiences of life, happiness, traumas, dreams and reflexions.

Through a scenic confession that takes place on the stage, A Filha da Chacrete invites the audience to reflect on their own lives and relationships with the past and consequently with the present. I worked based in my own experiences and stories I’ve heard from my mother. Since I was born, the pain of birth, going through the discovers of childhood until the adult life, the pain and the happiness of being alive.

The name of the play was due to my mom really being a “Chacrete” – dancer and assistant in a famous TV show from a well-known presenter in Brazil. And my father was a photonovel gallant. I’d like with this piece to remove the glamour of that situation and laugh about the stories, simple stories, that were like everyone else’s – sometimes good, sometimes not.

During the time the play was shown, it was possible to notice a deep involvement of the audience during the performances. To the extent that I exposed my own biography, I provoked them in their  own memories.

Director and text: Fernando Maatz

Text consultation: Camila Vidal

Performance: Camila Rhodi

Costume Designer: Bruno Perlatto

Light Design: Anderson Ratto

Scenography & Photos: Renato Marques

Production: Camila Rhodi

Pictures of the solo show.

The monologue was presented in the following Theaters:

Premier at Teatro Municipal Ziembinski, Tijuca, Rio de Janeiro. August 2008.

Sponsored by Prefeitura do Rio.

https://oglobo.globo.com/cultura/peca-filha-da-chacrete-esta-em-cartaz-no-teatro-ziembinski-no-rio-3607804

https://extra.globo.com/tv-e-lazer/peca-filha-da-chacrete-esta-em-cartaz-no-teatro-ziembinski-no-rio-560300.html

https://www.jb.com.br/cultura/noticias/2008/08/07/espetaculo-a-filha-da-chacrete-estreia-no-teatro-ziembisnski.html

Teatro Glaucio Gil, Copacabana, Rio de Janeiro

http://fomecultural.blogspot.com/2009/07/dica-boa-maratona-de-teatral-no-teatro.html

Casa de Cultura Laura Alvim

https://extra.globo.com/noticias/rio/pecas-gratuitas-na-casa-de-cultura-laura-alvim-392580.html

https://www.srzd.com/entretenimento/casa-de-cultura-laura-alvim-recebe-espetaculos-do-festival-de-teatro-do-rio/

It was 2004 in the Theater School Martins Penna, Rio de Janeiro, Brazil.

Everything started with a play named Absence. I thought of creating a scene on my own absences – my mother and my father.

In it I played a cassette tape with the sound of me and my mother talking. I was just 3 and the conversation was at the same time funny and sad to me. After this I opened some letters that I exchanged with my father since I learned how to write.

In the presence of an audience I discovered that simple things of our daily lives can be an explosion of emotions in the audience.

I sticked a photo in a transparent plastic round surface that was put between me and the audience. The photo portrayed my parents with me in their arms when I was just a  baby.

At that time a recording started to play, people could hear a child talking to a woman.  It  was me, with only 3 years old, and my mother:

– Camila, do you like John?
– Love him!
– Camila, do you like Mary?
-Love her!
– What about James?

(Time)

– I do …

The recording was at a time funny for the tone of rejection from the child and dramatic for the emotion of a small child talking to her mother – in that case, it had such importance for the fact that the voice was mine, I was talking to my mother who had died some years later after that recording.
Meanwhile, I sat on my knees and listened to the recording, with a wistful expression, amused me and thrilling at the same time. My expressions were not artificial, the movements were not crystallized, there were no other instrument beyond my behavioral possibilities. And every day that I did heard the voice of my mother in the performance,  they were very strong moments I’d experienced in front of an audience. I had just heard this recording two or three times in my whole life before this performance. For me, it was always difficult to face that pain.
When the part of the tape finished, I was sitting next to an opened little box and began to read the letters that were in there. Those were letters written by my father for his mother, for me and my letters for him, since I learnt how to write.  In those letters people could see the different times of my life, since I was a child, with my mother, after her death, until my father’s death.

In all the presentations I followed the same steps, so I wouldn’t get lost in my emotions.

There was a script of the scene, which I created, but without rehearsal. I was free for the moment. I would provide the rhythm of speech and movement. Listen the conversation,  it was the voice of my mother with me, a moment that it would never come back. In my hands, there were photocopies of letters I received from my father one day, moments of my life,  still learning how to write.

With such memories, I return to my story, my life, reaching a truly emotional state, without representation.