As Malibrans brings up the dark side of a Diva, her voice and her role as an opera personage.
In the great majority of traditional opera librettos, the female personage is always destined to submission or condemned to death. Through opera history and also in real life, these "Divas" with their divine voices, fantasized as goddesses, were often driven to lose their sanity.
As Malibrans does not present a linear narration, however, a great part of reconstructed images are based on the cult figure of Maria Malibran. She becomes the archetype of the theme and represents a new type of woman born before 1830.
- The Making of As Malibrans
- Noturno de um piano
- Revenge of Medea
- Nenhuma mulher civilizada faria isso
Fata Morgana means mirage and visions of the subconscious, and is also the druid witch who represents divine wisdom, depositary of the primitive revelation.
According to Stephen Hawking, the world we live in, with its planets and galaxies, is contained within an enormous bubble, whose surface gives off other smaller bubbles that occasionally give rise to new universes. This concept is the central idea of this magical opera: a bubble, symbolizing birth, rebirth, the bubble of space, time.
Jocy de Oliveira believes Liturgia do Espaco to be a "cosmic allegory," questioning human beings in the light of the celestial spectacle. T.S. Eliot gave her the first key: "Time present and time past are both perhaps present in time future."
- The Making of Fata Morgana
- The Making of Liturgia do Espaco
Inori to the sacred prostitute represents a return to the ritual, in search of the mythical, of the symbol, of the eternal. This rite of passage is tender, painful, erotic, hallucinating, violent, sanctifying, involving the personage in solitude of his being, in a net between the profane and the sacred.
The center of this rite is the myth of the sacred prostitute. To restore her figure means to regain the true feminine with inherent values, now lost in modern society. To recreate the image of the Goddess in our time is to reformulate totally our thinking, directing ourselves to a more human and integrated world.
In this path, the magic of the encounter is like a language of the initiated which integrates words and phonemes from primitive people, extinct people, future people.
Illud Tempus means time now and always in Latin. It also represents the atemporal telling of dreams, of unconscious time when God was a woman, a contemporary fairy tale.
Spoken words in different languages are used not only to tell these stories but also weaving intelligible phonemic texts combining sonic and semantic results.
Focusing on texts that expresses the female psyche through times, Illud Tempus explores, through music, theater, and body expression, this variety and diversity of...
Kseni is a foreign woman who comes from another place, another time, another culture... Kseni is someone who thinks differently and fights for the right to be different. It explores the myth of Medea in a different light, capturing eternal conflicts transposed to our time. It revisits primordial questions that reside in human relationships and within ourselves. It is a reflection on this timeless myth transported to the political and cultural reality of the world today.
The Making of Kseni, A Estrangeira
The Making of Kseni, Die Fremde
Revisiting Stravinsky is a music theatre piece in memory of Stravinsky and in recognition to Robert Craft. A dramatic musical reading with multimedia resources conceived and written by Jocy de Oliveira, based on her diary of acquaintance and rare collection of letters written to her by Stravinsky and his most important collaborator and interpreter, the conductor and writer Robert Craft.
The script brings up historic musical events, human, witty, emotional moments creating a touching dramatization intercepted by the extraordinary music of Stravinsky and vocal / instrumental / electro acoustic pieces specially composed by Jocy de Oliveira.
- Robert Craft on Stravinsky, 8 November 2010