Practical reasons of Ileana Diéguez Caballero’s expanded theatricality and two scenic devices from playwright/activist João Dias Turchi

Abstract

We open in this study a dialogue between aspects of the reflections and practices of expanded theatricality in its dimension of liminalidad, developed by Ileana Diéguez Caballero, and the social-aesthetics actions articulated by playwright João Dias Turchi and his production group, in Máquina de escrever reticências and mainly in Planta (design, direction and texts co-authored with Gustavo Colombini). The first, produced by SESI-British Council in 2013, and the second, by the X Bienal de Arquitetura de São Paulo in 2014. This theoretical-analytical framework of scenic actions is part of a bigger perspective of current practices, of socio-political character, and mainly collective, in Latin America. In the Brazilian specific context such contemporary experiments and activism are observed in São Paulo, one of the representative and exponent microcosms of production and diffusion of cultural trends to Brazil and to other Latin American countries.