Salina – The last vertebra

Salina - The Last Vertebra, play written by Laurent Gaudé. The play proposes a deep involvement into an ancient Africa to tell us an universal and timeless story about the hate and forgiveness. The show is inspired by African-Brazilian traditions – especially Congado (a kind of theatrical and religious performance) and Candomblé –, but also formed by elements coming from different civilizations, as the Greek tragedy and African epics.

Salina is a young woman forced to marry and raped by her husband, son of the King of Djimbas. Accused of letting her husband die on a battlefield, she is banished from the city and exiled in the desert, where she feeds the desire for revenge. From his hate is born a son who wages a war against the Djimbas, until an amazing turnaround happens in the destiny of Salina.

The show was conceived from a project which has involved several steps: training for the actors, research about scene and artistic interchanges. In this way, a new Africa has been invented. A symbolic territory has been created, where we were able to produce an identity covering mixed races and offsprings. This outcome is the meeting of several African cultures and different points of view and exchanges that took place during the project execution.

Salina (The Last Vertebra) debuted in 2015 and received the Shell Best Costume Awards (Ana Teixeira and Stephane Brodt), Shell Innovation Award (Ana Teixeira), APTR Award for Best Supporting Actress (Graciana Valladares), choreography and body preparation (Tatiana Tibúrcio), Valve of Escape / Looks of the Scene (POA) of spectacular direction, direction, costumes (Ana Teixeira and Stephane Brodt), dramaturgy (Laurent Gaudé) and supporting actor (Cridemar Aquino), besides theCesgranrio (Best Performance, Direction and Costume), Shell Award (Direction, Actress), Criticism Award (Costume), Cenym Award (Best Actress, Theater Company and Costume Design) and APTR Award (Direction and Costume). The show toured China (Beijing, Yangzhou, Nanjing, Shanghai, Hangzhou, Wuhan and Jiashan) with great critical and public success.



"I give you what I hold most precious so that the blows, the blood, and the stubborn vengeance may cease today."

Laurent Gaudé






CAST AND CREATIVE

Text Laurent Gaudé
Direction Ana Teixeira e Stephane Brodt
Cast
- Salina Ariane Hime
- Saro e Mumuyé Cridemar Aquino
- Sowumba Graciana Valladares
- Mama Lita Luciana Lopes
- Kwane M’krumba Reinaldo Junior
- Oráculo Robson Freire
- Sissoko Djimba Sergio Ricardo Loureiro
- Alika Sol Miranda
- Khaya Djimba Tatiana Tibúrcio
- Kano Djimba Thiago Catarino
Músic Fábio Simões Soares
Assistant director Vanessa Dias
Choreographies Tatiana Tibúrcio
Lighting Renato Machado
Costumes and scenery Ana Teixeira e Stephane Brodt
Puppets construction Maria Adélia
Musical instruments construction Fábio Simões Soares
Translation Ana Teixeira
Recension (revision of the text) Sol Miranda
InterchangeMestre Jorge Antônio dos Santos, Márcio Antônio dos Santos e Fabiano Melo da Luz (Congado dos Arturos). Grupo Odi de Moçambique
Graphic designPaulo Lima
Production Amok Teatro e Eureka Ideias/Sonia Dantas




PRESS




TEXTS

AUTHOR'S LETTER

"Salina" is an impossible play. Writing it was not a sensible decision. Nowadays, just as before, for a young writer who wants to see their plays staged, the best option would be to choose a more conventional format: a duration that does not exceed an hour and with a maximum of two or three characters. "Salina" is excessive. Just think about it: a triptych with dozens of characters. Anyone would say: "too many people, too long, too expensive..."

But should we stop writing plays like this? I have always believed we should not. That theater would die if it no longer had impossible texts to stage. Because I have always loved this phrase by Antoine Vitez who, speaking about the author, says: "their solitude, their inexperience, and even their irresponsibility, are precious to us." I believe in that. That the role of the author is not to predict, in their writing, the feasibility or not of the scenes. Otherwise, there would be no more Claudel or Shakespeare. The author is here to produce the impossible. It is up to theater people, directors, and actors to make that impossible happen on stage. I wrote "Salina" for this utopian theater that I love because it is capable of holding the entire world on a stage.

What is wonderful about theater is that it is an art of surprise, therefore, of astonishment. I would be incredulous if someone told me one day that "Salina" would be staged in Brazil. This is a deeply astonishing thing for me—to see how texts have a life of their own, how they make their own encounters. "Salina" found Amok Teatro. What a joy for me as an author... To imagine that my characters will come to life here, in your land.

To witness the unfolding of a rare, profound theatrical adventure that blends artistic creation, a deep concern for transmission, and social engagement. This is the kind of theater I love. I was immediately sensitive to the project of Stéphane Brodt and Ana Teixeira because, from the first time we met, they spoke to me about "Salina" not as a simple staging project but as a global theatrical journey. A year of rehearsals. Work with a large group of actors and actresses. A reflection on the African roots of Brazil. All of this touches and interests me. All of this makes me believe in the profound strength of theater.

"Salina" is here, today, before you with its Brazilian face. I cannot explain how this became possible. But I do know that it proves how theater is an art of encounters. A place to share our questions and our emotions. And when the play begins, before Salina calls MamaLita, pay attention, listen carefully. In the room, you might hear a whisper, which will be mine, softly sliding this word into the darkness: "Thank you...

Laurent Gaudé








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