The saga of Maria Antonia
By WALNICE NOGUEIRA GALVÃO: The battle of Maria Antonia Street in history, theater and cinema.
30/05/2025
By WALNICE NOGUEIRA GALVÃO: The battle of Maria Antonia Street in history, theater and cinema.
By MANUFACTURING MARIAROSARIA: The relationships between the short stories and the plays of the Italian writer
By LUCAS GARIANI: The reopening of the Institute is a victory for São Paulo culture, but it highlights the need for a balance between private patronage and the guarantee of democratic public spaces
By WALNICE NOGUEIRA GALVÃO:
Entry from the “Dictionary of Marxism in the Americas”.
By JOHN RODRIGO V. MARTINS: Group theater in São Paulo resists the market, rebels against neoliberalism, but cannot escape the trap of public notices
By MANUFACTURING MARIAROSARIA: Considerations based on the book “L'avventura d'un povero Cristiano”, by Ignazio Silone.
By ZOIA MÜNCHOW: Considerations on the play, directed by Fabiana Serroni – currently showing in São Paulo
By SOLENI BISCOUTO FRESSATO: Considerations on the play by Dias Gomes and the film by Anselmo Duarte
By JOHN RODRIGO V. MARTINS: Artistic groups in group theater face significant challenges when trying to reconcile ethical, aesthetic and political principles when working with public notices
By LICIO MONTEIRO: There on the avenue, Beija Flor created a moment to finally say goodbye to Laíla in a dignified way and with the gratitude she deserved. While the other schools were telling a story, Beija Flor was parading the
By BRUNO FABRICIO ALCEBINO DA SILVA: Considerations on Ariano Suassuna's play and the films based on this work
By MANUFACTURING MARIAROSARIA: Considerations on the staging of Mario Benedetti's play
By GABRIELA BRUSCHINI GRECCA: Commentary on the staging directed by Frank Castorf of Thomas Bernhard's play
By ERALDO SOUZA DOS SANTOS: Commentary on the show “For my white friend”, by Rodrigo França and Mery Delmond
By ERALDO SOUZA DOS SANTOS about the staging of “Waiting for Godot” by Teatro Oficina
By WALNICE NOGUEIRA GALVÃO: The memorable strategies of artists to circumvent the Brazilian military dictatorship
By VITOR MORAIS GRAZIANI: Commentary on the show conceived by Nuno Ramos and Eduardo Climachauska
By PABLO PETRAVICIUS VIEIRA: Considerations on the play The Stranger
By WALNICE NOGUEIRA GALVÃO: The battle of Maria Antonia Street in history, theater and cinema.
By MANUFACTURING MARIAROSARIA: The relationships between the short stories and the plays of the Italian writer
By LUCAS GARIANI: The reopening of the Institute is a victory for São Paulo culture, but it highlights the need for a balance between private patronage and the guarantee of democratic public spaces
By WALNICE NOGUEIRA GALVÃO:
Entry from the “Dictionary of Marxism in the Americas”.
By JOHN RODRIGO V. MARTINS: Group theater in São Paulo resists the market, rebels against neoliberalism, but cannot escape the trap of public notices
By MANUFACTURING MARIAROSARIA: Considerations based on the book “L'avventura d'un povero Cristiano”, by Ignazio Silone.
By ZOIA MÜNCHOW: Considerations on the play, directed by Fabiana Serroni – currently showing in São Paulo
By SOLENI BISCOUTO FRESSATO: Considerations on the play by Dias Gomes and the film by Anselmo Duarte
By JOHN RODRIGO V. MARTINS: Artistic groups in group theater face significant challenges when trying to reconcile ethical, aesthetic and political principles when working with public notices
By LICIO MONTEIRO: There on the avenue, Beija Flor created a moment to finally say goodbye to Laíla in a dignified way and with the gratitude she deserved. While the other schools were telling a story, Beija Flor was parading the
By BRUNO FABRICIO ALCEBINO DA SILVA: Considerations on Ariano Suassuna's play and the films based on this work
By MANUFACTURING MARIAROSARIA: Considerations on the staging of Mario Benedetti's play
By GABRIELA BRUSCHINI GRECCA: Commentary on the staging directed by Frank Castorf of Thomas Bernhard's play
By ERALDO SOUZA DOS SANTOS: Commentary on the show “For my white friend”, by Rodrigo França and Mery Delmond
By ERALDO SOUZA DOS SANTOS about the staging of “Waiting for Godot” by Teatro Oficina
By WALNICE NOGUEIRA GALVÃO: The memorable strategies of artists to circumvent the Brazilian military dictatorship
By VITOR MORAIS GRAZIANI: Commentary on the show conceived by Nuno Ramos and Eduardo Climachauska
By PABLO PETRAVICIUS VIEIRA: Considerations on the play The Stranger
