by Valmir Santos

In the vast world of the short scene, hardly a creation prints a course that can be inferred with a beginning, middle and end. The dramatic elaboration in “Pour Poor Andy”, by the PUTO Group, assumes temporal and spatial units and, within them, commits displacements of perception that enrich the imaginary around the woman who makes her home and her body non-places.

She admits how bad it is not to recognize herself in her own body, equivalent to the attitude of locking herself in the bathroom in the middle of the party that takes place at her house. The synthesis built around the asocial being, capable of being disturbed by the noise of his own presence, is a finding. The technical excellence of the interpreter Juliane Souto, also a playwright, creates a musical genre mattress in the voice and keyboard double with the musician Álvaro Antonio.

A rhythmic mattress, in every way, to lay down the character's solitude and enclosure. Jazz is translated into physical scores and light and scenography designs. Not even the delimitation of the tiny bathroom and the toilet slips into inelegance: a hiding place for the unconscious to let go of its grip. The crossbody toy pet is a woman's best companion to face the existential, artificial monsters. The beauty of singing and dancing inside the shimmering dress gradually fades with the dullness of the soul. Certain aura of a little solar Prince.

Not even sparkling wine soothes the wave. Nor does the beauty of the dramatic curve of this interior monologue, directed by Ali Freyer and so surgical in exposing some of the contemporary wounds, die.

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EM: http://mostracenabreve.blogspot.com/2017/05/acao-de-despejo.html