ENEMIES IN A DOLL'S HOUSE
Photo: Vilmar Carvalho
Proceeding with the research about dramaturgical and scenic creation developed by the GOMPA Project, Enemies in a Dolls’ House is one of the five winners of the International Ibsen Scholarship 2017, an award biannually promoted in Norway in order to encourage performances inspired by Ibsen all around the world. The play is performed in Brazil since 2018 and was presented at the Ibsen Festival, in Norway (2019).
In Enemies in a Doll’s House, Nora is a metaphor for her country (not Norway and its crystalline fjords, but Brazil and its constant leaks, not only of mud, but of inside information. From an undetermined point in the future, Nora revisits the moment when she is torn between the possibility of independence and the roots of a patriarchal tradition. Just like her country, on the razor’s edge between egalitarian progress and the backward movement of those who fear to lose their privileges. Nora is saved by at the end of the story. But what about Brazil? In such divided times, how do you know who the enemies of the people are?
Enemies in a Dolls’ House is a play inspired by the works “A Doll’s House” and “An Enemy of the People”, by Henrik Ibsen. The texts of the Norwegian playwright serve as a starting point for the construction of the play, which emphasizes gender issues, corruption and the media omnipresence. The performance unites theater, dance, music and video, to recreate the characters impasses and their unstable splits between daily limitations and social pressures.
Ibsen Awards - Noruega (2018)
Ponto de Teatro - Porto Alegre/RS Brazil (2018)
Açorianos de Teatro 2018
Actor - Nelson Diiniz
Supporting Actor - Álvaro RosaCosta
Supporting Actor - Lauro Ramalho
Supporting Actress - Liane Venturella
Producer - Projeto Gompa
10º Prêmios Olhares da Cena
Caxias em Cena - Caxias do Sul/RS (2018)
V Mostra Glênio Peres (2019)
Director: Camila Bauer
Dramaturgy: Marco Catalão, Pedro Bertoldi e Camila Bauer, a partir das obras Uma Casa de Bonecas e O Inimigo do Povo, de Henrik Ibsen (tradução Leonardo Pinto Silva), em colaboração com o elenco.
Choreography: Carlota Albuquerque
Soundtrack and Sound Design: Álvaro RosaCosta
Lightning and Video: Ricardo Vivian
Set design: Elcio Rossini
Costumes and Make-up: Liane Venturella
Draws and costume paintings: Lipe Albuquerque
Mask Creation and Manufacture: Fábio Cuelli
Social Media and Memes for the Stage:: Laura Hickmann
Press Adviser: Lauro Ramalho
Graphic Design: Jéssica Barbosa
Photography Adriana Marchiori
Realização e produção:
Co-Production and Sponsorship:
ANTÔNIO HOHLFELDT - JORNAL DO COMÉRCIO
"The entire group, which acts strongly as a collective, performs one of the best finished and affirmative works that I have seen in recent years, because it is an extremely complex and difficult line of creation, both from a dramatic and aesthetic point of view, but that is absolutely achieved in this work of just over an hour and a half in duration, but which takes the audience by the wrist and takes them throughout the narrative in order to present them with a solid, logical and dense reflection, which does not allow quibbling.”
OLHARES DA CENA - DIEGO FERREIRA
"(...) The dramaturgy is guided by the procedure of revealing the contradictions, saying goodbye to linear narration and realism to invest in narratives that emphasize the discourse and tensions that we are experiencing now. (...) Regarding Camila Bauer's staging, the performance is constructed on the intersections of the different performing arts and has a strong aesthetic appeal based on performance, physicality, music, projections and lighting, as well as the costumes and masks that with their colors and textures manage to expand the fruition field. The same for the sound creation of RosaCosta, which is always effective and dialogues directly with the play. Highlighting for the strong cast that the project managed to bring together headed by Sandra Dani, Nelson Diniz, Liane Venturella, Lauro Ramalho, Janaína Pelizzon, Fabiane Severo (who with her physical presence creates subjectivities and timelessness in the work, digging spaces to manifest what words cannot handle), Alvaro RosaCosta and Pedro Bertoldi highlighting the last two that properly put on stage strong stories on current themes, but the whole cast is cohesive and manages to put on stage all the aesthetic provocation and that allows different layers of readings within a contemporary context of theatrical proposition, maintaining the coherence that the director Camila Bauer has developed over the years.
Author: Camila Bauer