SCHEDULE:
Conception and cast: Matheus Nachtergaele
Texts: Maria Cecília Nachtergaele
Guitar and arrangements: Luã Belik
Violin: Bryan Diaz
Lighting design: Orlando Schaider
Sound design: Andrea Zeni
Body training: Natasha Mesquita
Vocal training: Célio Rentroya
Maid/stagehands: Cedeli Martinusso
Social medias: Rodrigo Pires
Visual arts: Claudio Portugal/Karina Abicalil
Press office: Passarim Comunicação/Silvana E. Santo
Legal and accountant support: Lilian Santiago (Coarte)
Executive producer: Valeria Luna e Sergio Maia
Production coordinator: A Gente Se Fala Produções Artísticas
Production director: Miriam Juvino
Accomplishment: Pássaro da Noite Produções
This performance was named, in its original title, Processo de conscerto do desejo because few words are so commonly confused in Portuguese as “concerto” (concert) and “conserto” (repair). Here, they blend vertiginously. The word “desejo” (desire), in philosophy, would be the tension toward an end from which satisfaction is expected. Traditionally, desire infers lack, or some kind of shortage: the one who would need nothing, wouldn’t desire anything. He would be a perfect being, a God. That is why philosophy so often would point out desire as the first characteristic of the imperfect being, of the finite one. I want to repair my desire with poetry, in a concert. I explain: my mother, the poet Maria Cecília Nachtergaele, passed away by the time I was a three-month baby. She left me with nothing more than her poems, beautiful and mature, writings of a young woman, modern and sad, and this vein that pop out in my forehead whenever I laugh or cry much. In Processo de conscerto do desejo (The mourning show), accompanied by the young acoustic guitar player Luã Belik and by violinist Bryan Diaz, I’ll finally say the poems I’ve kept in my eyes and soul as her only legacy. The performance is as simple as that: a man (who’s by chance an actor) says on stage his mom’s written words. An acoustic guitar (not by chance as Maria Cecília used to love acoustic guitars) accompanied him. That’s it, if that’s not enough.
Running Time: 80′
Advisory Rating: 16 years
