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Winner of the Norwegian Ibsen Scope award, the performance INSTINTO is one of the five selected among fifty-four projects from over thirty countries that competed for the award. In this montage, we see the essence of Brand, character from the homonymous work by Henrik Ibsen, brought to modern contexts in fragmented fashion, mixing theater, dance, music and visual arts. Brand is a relentless, obsessive leader, much like many extremist leaders today who dangerously influence crowds of human beings, frequently to devastating results. Based on that idea and pervaded by questions about the limits of our own humanity, we asked if our rationality is enough to distinguish us from animals, which are instinctive in their needs and leadership choices. INSTINTO is a questioning about the constant conflict between our ideals and our actions. It is the result of our concerns, of our desire to assimilate some phenomena of today’s world, to understand a little more about human beings, our instincts and our similarities with the primates.

The construction of the dramaturgy was done in many layers that were superimposed and, little by little, merged. We took off from the idea of leader presented in Ibsen’s Brand, but brought it to our Brazilian context. We took the essence of the work and approached it by several means: word, choreographed movements, sounds, images, gestures. We approached Ibsen emphasizing the risk of following without judgement those who present themselves as leaders.

Monkeys are a counterpoint to the human. They bring us levity, but also instinct. Animals choose their leaders based on survivability, the necessary quality to keep the pack strong. The human being is based on personal interest, even if it means the destruction of its fellow men. We lost part of our instinct and became deeply rational and selfish. For us, the animal is the counterpoint. That’s why, on stage, we use latex masks that bring a feeling close to the realism of the animal, tensioning with the more human costumes and the movement of the actors, that transit between animal and human.

INSTINTO has a stage version, lasting about 45 minutes, which can be adapted to different types of alternative spaces, open or closed. It also has a performance lasting between 10 to 15 minutes, which can be performed in different spaces, contexts and events. The performance has been performed at Norway, on the occasion of receiving the Ibsen Scope Award, and at the Noite dos Museus (Night of the Museums) in Porto Alegre, at Cinemateca Capitólio. INSTINTO premiered at Palco Giratório SESC 2023, and continued on season on Teatro Oficina Olga Reverbel, at the Multipalco Eva Sopher, in Porto Alegre. It is a timely work, relevant in different contexts and events.


Ibsen Scope Grant - Norway (2022)


Olso (norway)


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Conception:  Camila Bauer and Liane Venturella

Direction:  Camila Bauer

Cast:  Alexsander Vidaleti, Fabiane Severo, Liane Venturella and Nelson Diniz

Sonography and sound operation:  Álvaro RosaCosta

Authorial sound intervention:  Paola Kirst

Dramaturgy:  Giuliano Zanchi, based on the work Brand, by Henrik Ibsen, and the dramaturgical collaboration of the cast.

Choreographical direction:  Carlota Albuquerque

Scenography and objects:  Elcio Rossini

Videomaking:  Elcio Rossini and Maurício Rossini

Lightning and videography:  Ricardo Vivian

Costumes:  Daniel de Lion

Masks:  Victor Lopes

Guest provocateurs:  Alexsander Vidaleti, Elcio Rossini, Mailson Fantinel and Rafael Bricoli

Guests for the song “Choro do Macaco”:  Simone Rasslan (piano) and Beto Chedid (Acoustic guitar and cavaquinho)

Participation in fair audio (RO):  Anderson Silva and Rinaldo Santos

Graphic Art:  Jéssica Barbosa

Photography:  Vilmar Carvalho

Publicity:  Léo Sant’Ana

Social networks:  Pedro Bertoldi

Overall production:  Projeto Gompa

Financing:  Ibsen Scope

Special thanks:  Hilde Guri Hohlin, Korina Vasileiadou, Letícia Vieira, Sala Terpsi and Cia IncomodeTe





Crew of 8 people.

4 scenery cases that can be dispatched on flights as luggage in regular dimensions of 23 kg (aprox. 50 lbs)

Adaptable stage dimensions.






Aiton Tomazzoni - CENA.TXT  

“The text written by Giuliano Zanchi, based on the work Brand, by Henrik Ibsen, had the dramaturgical collaboration of the cast and weaves a corrosive, encyclopedic and theatrical script full of fragments that arrive in multiple voices or in gigantic projected images. So we follow the (un) human saga of a character chasing his ideals and some redemption at any cost for the souls that inhabit this planet. And by bringing this archetype of the redeeming leader, it opens up to the historical wounds about everyone who decide to follow. PS: followers, such a fashionable word, right?


Camila Bauer makes a dynamic, intelligent, sensitive and careful montage. We are surrounded, like the animals on stage in the cages our humanity has erected and continues to erect… And it’s in this tangle that Alexsander Vidaleti, Fabiane Severo, Liane Venturella and Nelson Diniz roam in strong and subtle performances as if walking along the edge of an abyss. Each word and gesture gains prominence, at times in an agile and choreographic game, at times in a dense suspension, at times coated with a layer so thin that it looks as if it could be ripped apart with a breath.


And the accuracy of the montage is in each element, from Ricardo Vivan’s lightning and videography, to Carlota Albuquerque’s bodywork, to the props such as the amorphous, faceless, stillborn rag doll that the women cradle like mothers trying to give life to a late son. (Tears). And all that packaged in a masterful sonographic orchestration, right there on stage, by Álvaro RosaCosta, who once again deserves applause by his originality and potency between hypnotical rave, military march, apotheotic carnival and touching minimalism. A sonority that also presents us with the interventions of Paola Kirst, who drives samples, voice and percussion.


There is still time? We are sapiens, but few are wise, sentences the character. The answer seems timid, but somehow present there, in a theater crowded with some of the 8 billion that inhabit the planet, gathered in front of artists of such quality, so close, here in our own town. We are beings who still have art, perhaps as an alternative to not succumb to watching astonished the drives of life transform into drives of death. Bravo Projeto Gompa!”

Read it here.

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