Due to the huge success with tickets sold out almost every session of the play since it premiered, the Oficina Uzyna Uzona Thea(c)tre Association will promote extra session of “Pra dar um fim no juízo de deus” (To Have Done With the Judgement of God) during it´s last Weekend. So there will be shows on the upcoming days:
*10/04 (Friday, at 22h30)*
*11/04 (Saturday, at 21h)*
*12/04 (Sunday, at 20h)*
*All three sessions have English subtitles for the audience in the Theater.*
With an hour long, the radio play To Have Done With the Judgement of God, by Antonin Artaud, calls into question the “Final Judgment”. Staged in Oficina Thea(c)ter by Zé Celso with the cast from Oficina Uzyna Uzona today in the Global Crashe’s Apocalipse with the full drawdown of human power in Culture, emerges in the living interactive bodies with the power of theater, to remake our anatomy, free from the automation of the judgments that keep us from living. All sessions from To Have Done With the Judgement of God have subtitles in English (for the public in the Theatre) and are broadcasted live by www.teatroficina.com.br site.
*To Have Done With the Judgement of God*
*Director:* José Celso Martinez Corrêa, with the cast of Oficina Uzyna Uzona Thea(c)ter
*Cast:* Marcelo Drummond, Pascoal da Conceição, Camila Mota, Zé Celso, Roderick Himeros, Joana Medeiros, Nash Laila, Madalena Bernardes, Daniel Fagundes, Rodrigo Andreoli, Lucas Andrade and Ariel Roche.
*Tickets:* R $ 40.00 (whole), R$ 20.00 (half) and R$ 5.00 (Bixiga neighborhood residents). Online tickets through the website “Compre Ingressos”:http://www.compreingressos.com/espetaculos/4205-Pra-Dar-Um-Fim-no-Juizo-de-Deus
*Location:* Oficina Thea(c)ter – 520, Jaceguai Street. Tel: 11 3106-2818.
*Capacity:* 300 seats
*Age Rate:* 18 years
*Duration:* 60 minutes
*Live broadcast through the website www.teatroficina.com.br*
*SUBTITLES IN ENGLISH!*
*Below, the full Interview of director Zé Celso for the “Folha de São Paulo” newspaper, to Gabriela Mellao, before the premiere:*
*1. What attracts you in this radio play by Artaud?*
Zé Celso – Attracts and much, the wire of concrete words emanating sound vibrations, coming from Artaud’s body, penetrating our bodies, on specific acupuncture points, in which resists a fixed idea of the world holding back our erotic animal, creator of nameless animals such as, for example, the art of this play.
*2. The play comes adapted to the stage? What did you eliminate and what did you favor in this adaptation?*
We, anthropophagi actuators as Artaud, are preparing a deliciously timely and cruel feast. Were doing it all again, living the Word of Artauds Anatomy on these much intense days that are experienced by the Cosmos, Societies, and by ourselves, mortal ones.
From what I know about myself, Im in my Astral Hell.
Today I was only with my Actor; I missed the rehearsal because I thought I was sick, but I realized it was my unconscious that did not want me to take the role of Director , in order to have the pleasure of remaining only Actor, studying with Artaud in the original French. I radically changed my interpretation, I felt the mood of Artaud Momo playing the role of the Hallucinated One, redid deeply in simplicity the anatomy of words that I was going to speak out to find, just today, the continuous tea(c)trical action of the play.
*3. What changes in this staging of To Have Done With the Judgement of God, in relation to the one held in 96?*
It changes as we settle ourselves in the flow of instability of 2015 in this situation where Theater leaves the Unimportance and earns its place of Value of putting Bodies next to Bodies before those who are living in these days of unmasking everything in the Crash Krrép Cruc of the Old New Republic .
We are in scene without holding anything back in the automatic. Artaud rolls around with our energies, with the energies of the ones that come to be with us: the Public of every night, with the noises of the City, with the Being of the cosmic night always present in the Oficina’s Big Glass Window and in the Mobile Ceiling.
*4. The first staging had virtually no sets and costumes. Share your conception of staging, sets and costumes for this version of the work.*
It is almost the same: we had everything at Oficina’s Artaudian space, as we do now – plus the Art direction by two “architects”, the Cello, Light, Camera, Action -, and nothing else, except the blood, sperm and the shit, new every night, immersed in the power of the play by Artaud, in which we Invest our Bodies as formidable Hookers, putting our faith on the box office.
*5. Why did you decide to reassemble this play?*
Because we took a vacation after the “Cacildas” and returned on this March, so cruel and exciting, just to make theater, feeling the drive to be in the scene as fast as possible. So we went for Artaud, which has a Single Intense One Hour duration, with all that our bodies want to be saying in this Manifesto of Human Flesh.
*6. Why do you deploy Artaud in four figures?*
All the present Bodies actuating are Artauds, not only those who have big lines; the Choruses do the hardest part, the Glossolalias of Artaud, the language that happens when words are not enough for what we have to say – and yet we revile the unspeakable and the invisible, with living phonemes.
*7. Who are these four figures and what each one is?*
Nobody represents nothing in Artaud; it’s a Thea(c)tre of “presentation”. No one is in place of a character; it is a direct emission of the Present Bodies producing unnamed animals, with those who are present, the so-called public.
*8. What does defecating on the scene means? To get rid of the trash of the world?*
No, Trash gets Recycled.
“Where smells like shit, smells like Being.”
And when one is stunted, full of not dumped feces, the shit gets dumped at the beginning of the play, with a dedication to the “Synthetic Products of Nature Replacement”. But the play progresses towards a Mass “In Search of Fecality [FaithCality]”.
*9. What God and religion represent to Artaud?*
Then, yes, Artaud sees God as a “representation”, and at the same time as “microbes”, which he believes, like the ancient earthly peoples, to be god.
But there are microbes that are god and others who are God – the ones who precisely represent his action of microbial harmfulness in this sinister appearance that God wears, wherever he has fun with Tetanizing and turning humanity Crazy, as he does now.
It is Artaud from “The Theatre and its Double,” which gives the words, for example, Microbes and Cruelty, double meanings. There is the rigor of his “Theatre” and there is the ” Morbid Cruelty ” of the remastered monotheistic God, mono.
Finally, Artaud believes in god, but in the “microbe god … What you call microbes, is god. The human being, if not held back, is an Erotic Animal, there’s in him an inspired trembling, a kind of creative pulse of countless animals without name, which is the way the ancient earthly peoples used to call god. ”
Conclusion: Artaud believes in the microbe god, the god who is in the act of creation of human and unnamed animals.