This is a text submitted after RAUM ZEIT ZIRKUS – Site Specific and Time Specific Circus and Performance – ThinkTank at CircusMühle Kelbra in November 2024.

Thais Medeiros
Circus and Performance – Risk and Freedom

When I was a child, I waited for the circus to arrive in the small town of Itajubá… Among candy apples, acrobatics, cotton candy, clowns, and trapeze artists, I had a secret dream of one day living the adventure of running away with the circus… I loved the “Globe of Death.”

In some way, I created this escape in my imagination, and it made me feel at risk and also free… I carried the question: “How do they do it?”
When I grew up, I discovered this was a secret dream for many people… I also had an encounter with my clown; her name is “Esperança” (Hope), and she can’t be cheerful all the time.

I never ran away with the circus…

One day I found in theater and performance that same space/time of freedom, risk, and pleasure that the circus had inspired in me.
Later on, that place of freedom and risk was found in the urban space; in the performances of my works, the street installations in São Paulo, in cities in the countryside of Brazil, and even abroad, where my native language, Portuguese, is not present… Many times, when I’m abroad, I find this space/time when I walk through the streets and hear the sound of voices, the movement of gestures. I feel both at risk and free because I don’t understand — and that makes me see again, imagine again, build stories just by observing bodies in space and listening to speech.

Today, this space/time of freedom and risk is in understanding the body as territory, listening to it and its needs, encountering the other/the spectator, and seeking poetry. It’s in the “non-specific place,” in the occupation of spaces, always in the space/time of the present moment — never forgetting that my imagination and dreams allow me other experiences in space and time…

“Where do parachutes come from?
From the place where visions and dreams are possible.
Another place we can inhabit beyond this harsh earth: the place of dreams.
Not the commonly referenced dream of when we are dozing off or that we trivialise as
‘I am dreaming of my next job, my next car’, but a transcendent experience in which the human cocoon implodes, opening up to other visions of life that are not limited.”
Ailton Krenak

Site Specific In Time

The Specific Time

„You are such a handsome lord
Just like my son’s own face
Time time time time
I’ll make a request of you
Time time time time
Composer of destinies,
drum of all rhythms
Time time time time
I make a pact with you
Time time time time“
Prayer to Time – Caetano Veloso

The term Site-Specific refers to an artwork designed specifically for a particular location and that has an interrelationship with that space. We also know that there is the artist’s site-specific approach to architecture, someone who listens to the environment, constructs, and modifies space/time through their expressive language.

In the beginning, my performative installations and urban interventions weren’t created based on or for a particular environment or site, nor were they planned for urban spaces.

Initially, my performances in the street came from a necessity to create and occupy space because there wasn’t room for my works — it was an act of resistance to cultural and artistic spaces that were always occupied by the same groups and artists. The performances were born out of a desire to encounter others after spending years in closed training rooms or at the Kung Fu academy. Over time, I discovered that the street — the urban space — wasn’t just a place but a path… A path of listening that keeps unfolding and inspiring me. The dialogue between my work and the street and its passersby created what I can now also describe as Site-Specific and Time-Specific.

Today, when I prepare for an urban intervention, I usually select a location, analyze its possibilities, create a composition, prepare a structure, and design spatial layouts.

My artistic projects (performances, solos, interventions, exhibitions, installations…) begin with a theme or idea that is urgent and necessary for me, something that affects me. I work with themes that create friction — where expression can be a political point of action.

What is essential for me is to have a truthful starting point, even if temporary and unstable.

I usually invite actors and non-actors, artists or people interested in the chosen theme, to reflect and work on it through physical training, aiming to bring the performer’s presence into their body/territory and into the present moment. The performer’s body/mind is used as territory in my artistic works to reveal, question, and reflect on existential, social, and political themes.

I use principles of theatrical anthropology to create dramaturgy, along with techniques from both Eastern and Western traditions of theater and dance, which are part of my training as an actress.

The works are created for enclosed, intimate spaces and later adapted for public spaces while maintaining the same structure — they are compositions in space, on canvases, stage paintings, in the streets, and solo works on screens.
In some of my urban interventions and performances, I use the surprise element of occupation — both for performers and spectators. Once again, risk and freedom inspire the actions, connecting directly with the circus.

This feature of performing without prior announcement repeats in some works such as the Urban Interventions: “Cores e Traços da Origem”(Colors and Traces of Origin), “Índio Brasileiro” (Brazilian Indian), Vozes Originárias ou o Céu que Ameaça Desabar” (Native Voices or the Sky That Threatens to Collapse). The surprise element is a path I found to experience the challenge of creating artistic actions in urban space, where chance, risk, and being exposed in an open and vulnerable field is a choice and a poetic-political attitude related to real-time composition. It’s a proposal of listening, a way to claim the city and its space in time. I often saw the stage as a tatami mat, always seeking to be ready for combat. Now I am interested in finding a dance in confrontation.

My current work explores and dialogues with the relationship between theatre, performance, visual arts and martial arts, crossing aesthetic and conceptual boundaries.

My works create an experience that unfolds and transforms itself – performance becomes exhibition, becomes installation; exhibition becomes urban intervention, becomes video, performance or theatre…

Currently, with Coletivo Galeria Gruta, I carry out artistic actions and research ways of occupying the city as an aesthetic and political practice — investigating street space and displacements in urban space, reflecting on the unfolding of bodily actions in the city. In the Collective’s actions, we include observers who record the process in different media (photography/video), thus also creating a narrative of the traversed space.

Some questions:
-How can we capture the viewer in public spaces, how can we infect them in the present day with existential, political and social themes?
-How can we create another space/time in which we seek to transform different realities, based on our everyday urban space/time?
-What roles do risky, unpredictable, different and ambivalent scenic spaces play in performance and in the presence of the performer?
-Can poetry transform our everyday and tragic realities?
-Is it possible to embrace the intrinsic vulnerability of the human condition and elaborate on issues through art in poetry?

And the questions continue throughout the process, and they change, they transform…
And they continue…

The First Time in Urban Space
Performance-Installation Tapete Manifesto at Roosevelt Square

In 2008, after participating in Vértice Brasil — the Brazilian edition of The Magdalena Project, an international network of women in theater and performance — I founded Coletivo Galeria Gruta.

Coletivo Galeria Gruta is a network of independent artists focused on encounters and artistic practices born from the desire and need to research and create scenic experiments, provoking and inspiring artistic and cultural exchanges by occupying public and private spaces.

It was the beginning of a new path in my relationship with my work and creations. Vértice Brasil inspired me to take the reins of my own artistic work. I began sharing my independent research on the actor’s work.

I had a few questions:
How can my research be shared and translated into theatrical language or performance?
How would my research be conveyed to other people?
How would it be transposed to the theatrical scene in the encounter with the other?

So I invited artists and non-artists to participate in a body training, where I shared my 20-year research on the work of actors. In 2010, I began creating a solo/performance on the topic of violence against women. I felt a need to work on this topic, having already experienced it and also because Brazil was experiencing a significant increase in rape and femicide. Brazil is a country with a tradition of patriarchy. This system of power is cultural and historical, shaping our social norms and expectations that have always favored and favor men and perpetuate gender inequalities. Sexual violence and femicide affect us all; we all hear or have our own stories to break out of the time of silence…

At that time, I couldn’t find any actresses willing to take the plunge with me.
I was training in kung fu, and at the gym, I met many women, the Sijehs (training sisters), who wanted to participate in my acting training. I worked on our bodies and the issue of violence against women for two years. I explained to the participants that, although the process could be therapeutic, I was seeking artistic expression; I wanted to find a poetic way to talk about violence against women in performance.

Can poetry transform this tragic reality?

I conceived and directed the „Performance-Installation Tapete Manifesto,“ a poetic manifesto against violence against women. The dramaturgy was conceived based on the participants‘ testimonies and statistics on violence against women in Brazil.

For a long time, I applied to various cultural grants seeking support and funding to carry out Tapete Manifesto and other projects in private spaces. Since I wasn’t selected for any of them, I decided to take to the streets and submit the Performance-Installation Tapete Manifesto to the BaixoCentro Festival.

„The BaixoCentro Festival 2013 was a cultural event held in São Paulo, aiming to occupy public spaces and promote interaction between residents and locals through various artistic expressions such as music, visual arts, dance, theater, literature, and hacker activism. The festival took place on the streets of the city’s downtown area and stood out for its self-managed nature and for fostering a dialogue between art and urban space.“

The Performance-Installation Tapete Manifesto was a cry from the woman and the artist. In this action, I found in the urban space and in the encounter with passersby my time/space of risk and freedom. From the non-space, I created my space/time of poetry…

Every instant/time carries a revolutionary chance.

Tapete Manifesto at the BaixoCentro Festival

On the day scheduled for the performance, we were unable to perform because the police prevented us from doing so. At the chosen location (Roosevelt Square), numerous police cars began to appear, literally blocking the space with their cars. It was a big challenge I faced – it was threatening to rain, suddenly the police ostensibly surrounded the stage area of the square with their cars, preventing us from performing – most of the participants were not professionals and were not prepared for this situation. There was also the problem of the large amount of perishable materials that made up the carpet, such as rose petals, bags of sawdust, powdered plaster, etc., which could spoil overnight… After much discussion and much resistance, the performance installation Tapete Manifesto was presented the following day at the same location in downtown São Paulo, in the early evening, with only the streetlights on.

In this concept, the stage space—the installation—was constructed as if in a ritual, using the same materials as the carpets used in the religious festivals of Corpus Christi, the devotional carpets (powdered plaster, hundreds of rose petals, and a huge amount of sawdust, in a space measuring approximately 12m x 12m). The performance featured 12 performers and a musician, lasting approximately 60 minutes.

The second presentation of the performance took place in 2014 at the ObsCENAs Short Scenes Showcase – Women’s Artists Gathering at GLOBE-SP. The performance had to be adapted to an indoor venue, moving from an urban space to a smaller, more constrained space and timeframe (with a maximum duration of 10 minutes). I also couldn’t use the materials from the first version of the performance because they would dirty the theater floor.

The format of the performance had to be radically modified, while preserving the concept and transforming the materials used, seeking a synthesis and maintaining the ritual.

That’s when I conceived a cartography of violence based on 2013 statistics, with the creation of two rugs made from painting canvas. On the rugs, I screen-printed 140 pairs of underwear representing the number of daily rapes, and 15 skeletons representing the daily femicides. The performance was completely transformed and was presented with three performers and one musician.

Currently, the performance-installation Tapete Manifesto is presented with the screen-printed rugs in both open and closed spaces. It moves fluidly through urban environments, alternative venues, and conventional theaters. As an example, the busy Paulista Avenue, which is closed on Sundays for leisure activities, the performance was presented on a Sunday afternoon (creating an atmosphere that silenced it for almost an hour) and was also presented at the renowned and traditional Arena Theatre in São Paulo. Over time, I developed a structure that allows the performance to move across space and time while preserving its strength and poetry.

Some artists, filmmakers, and actors questioned me when I presented the Tapete Manifesto performance-installation in the streets and in non-traditional spaces; they said my work was too refined to be shown in the streets…

The proposal and the goal of bringing art/poetry to the streets—beyond occupying spaces accessible to everyone and provoking a more direct contact with artistic creation—is also about challenging and transforming people’s perceptions of space and time, creating new narratives and meanings.
For me, poetry and art—like the street—belong to us; they are my space of freedom and risk…

Can poetry change your reality? Can poetry change your everyday life?

We know that art creates spaces of resonance for practices of resistance, repair, and reinterpretation. One of the goals of the Coletivo Galeria Gruta is to build a collaborative network for scenic research and experimentation, in order to promote art in a decentralized way—seeking to bring the sphere of the sensitive into the present moment…Art can give us this kind of time.

“A book of poetry in a drawer is useless
The place for poetry is the sidewalk
The place for paintings is in exhibitions
The place for music is on the radio
An actor belongs on stage and on television
Fish belong in the sea
The place for samba-enredo is the asphalt
The place for samba-enredo is the asphalt“
Song by Sérgio Sampaio, 1976

The Specific Time of Circus and Performance

„Time is a construction of space, within space…
It’s a line that goes to the center of the Earth.
It’s a line that goes to the sky…
And space is a horizontal line.
And it is this intersection of time and space
that forms the basic architecture of everything.“
Bob Wilson

The Waters That Flow Over the Stones
Another reflection in the time/space of creation

In 2009, when I participated in the Transit VI Festival, „Women on the Periphery“, at the Odin Teatret headquarters in Holstebro, Denmark, during a workshop conducted in English, I experienced something striking. At the moment of my presentation, when I said out loud the name of my hometown, Itajubá—a name of Indigenous origin—it sounded strangely unfamiliar to me, as if I had never spoken it before.

Itajubá, in the Tupi-Guarani language, means “yellow stone” or “gold,” derived from the combination of the words itá (stone) and yubá (yellow). The meaning of Itajubá in Tupi-Guarani can be interpreted both as “river of stones falling from above” and as “yellow stone” or “gold.”

In my memory, the meaning of Itajubá remained as “the waters that roll over the stones.”. In that moment, I felt that the strangeness of the name Itajubá translated something within me—it mirrored the same sense of estrangement I felt as a Latin American participating in a European festival.

It was then that I reconnected with my origin, with my Portuguese language, which suddenly felt like a dead language…
Here, in this space/time, who is interested in, understands, or is even able to hear me speaking in Portuguese?

I felt like a foreigner (from Latin extranĕus – strange, from the outside)—and peripheral.
What does it mean to be Latin American here?
Latin America, with its colors and features…

The Indigenous peoples, with their colors and features…
This led me to seek encounters with various Indigenous cultures—made invisible, marginalized, and yet still resistant.

That experience—this encounter with my history, with the name of my city, with my origin—made me reflect deeply on Indigenous peoples.
It awakened in me the need, at first, to search for images and photographs that could inspire me and help me connect with them.
It was an encounter through the eyes of others, through their images—and from those gazes, I began to build my own, through repetition and color.

I created several works on the Indigenous theme, including a series of screen prints on canvas titled “Índio Brasileiro”, in which I used a photograph by Rodrigo Petrella of a Pajé (shaman)—a piece that earned me several awards, including a Gold Medal in London.

The Pajé, in Indigenous culture, is a spiritual leader, healer, and counselor of the community.

Later, this series of screen prints unfolded into another exhibition titled “Colors and Traces of Origin”, featuring photographs by Rodrigo Petrella and Pedro Martinelli.
Over time, these exhibitions evolved into urban interventions and performances.

Urban Interventions with Indigenous Themes

Directly related to the performance-installation “Estar uma Árvore”- (Being a Tree) – work in process – presented at RAUM ZEIT ZIRKUS

Urban Intervention – Índio Brasileiro – April 19, 2014

The urban intervention Índio Brasileiro was carried out in the city center of São Paulo, near the Municipal Theater and Viaduto do Chá.

This action is a direct unfolding of the exhibition series Colors and Traces of Origin, presented at the Legislative Assembly of São Paulo (ALESP) in 2011. The image used is inspired by a photograph by Rodrigo Petrella.

In this intervention, seven performers construct an installation using the image of a Pajé (printed on paper, 5m x 7m) and lay it on the ground, directly over a pedestrian crosswalk at one of the busiest intersections in downtown São Paulo. The image is positioned so that cars, buses, and people pass directly over it. During the short moments when traffic halts and the pedestrian light turns green, the performers carry out symbolic actions—such as pouring soil and red paint over the image of the Indigenous leader. This act symbolically returns the land to the native people and denounces the blood shed in the ongoing struggle for territory.

When the light changes again and the vehicles resume movement, they drive over the image, spreading the red paint and creating long trails down the street— beyond the original photo—thus generating a new collective painting in the urban space/time. This act, shaped by cars and passersby, becomes a cry in the city: an occupation, a presence, a form of resistance against genocide and ethnocide. The intervention Índio Brasileiro occupies the city and seeks an affective reconnection with Indigenous cultures, with our memory, and with the people circulating through urban space.

The action intends to open up small landscapes, paths, and moments of poetry in the daily life of the metropolis. It aims to provoke a gaze, a pause in time, and to inspire questions and reflections on Indigenous cultures and the violence suffered by native peoples in their territories throughout Brazil.

Contemporary society is destroying our culture, our roots, and the territories of the forest peoples…

What is your role—active or passive—in these acts?
What do you feel when you see cars driving over the image of the Brazilian Indigenous person?
Are you afraid the cars will make it disappear?

Urban Intervention – “Cores e Traços da Origem” (Colors and Traces of Origin) – June 27, 2021

This urban intervention was carried out with seven performers who moved through the public spaces of Elevado João Goulart (Minhocão) and Praça Roosevelt, in downtown São Paulo.

The performers carried artworks featuring Indigenous portraits from the Colors and Traces of Origin series, and were themselves seen as carriers or supports of the artworks—aiming to provoke a silent yet powerful dialogue with passersby. The intervention took place during the pandemic, with the performers dressed in white coveralls and wearing protective face masks.

They also carried small portable speakers that played the voices and songs of contemporary Indigenous leaders from various ethnic groups, creating a time/space of listening and reflection within the urban environment.
These Indigenous voices—both sung and spoken, in native languages and in Portuguese—echoed through the city, generating varied reactions from pedestrians and performers alike.

They were the voices of leaders speaking out about land demarcation claims, urgent calls for protection against projects that could lead to yet another Indigenous genocide, denunciations of illegal land invasions by miners, and appeals against the destruction of nature and the forests…

Urban Intervention – “Vozes Originárias ou O Céu que Ameaça Desabar” (Original Voices or The Sky That Threatens to Collapse) – July 25, 2021

This urban intervention was carried out with eight performers, all dressed in white coveralls and protective masks. It took place at the pedestrian crosswalk on Avenida Ipiranga, next to Praça da República—one of the most iconic and busiest squares in São Paulo.

The performers began the action in a similar way to the Índio Brasileiro intervention, creating an installation with two large paper panels, each measuring 5m x 7m:

-A panel featuring the image of an Indigenous Pajé (shaman), photographed by Rodrigo Petrella
-A panel with the phrase: „The Sky That Threatens to Collapse Upon Us“

The performers laid the panels on the ground, directly over the pedestrian crosswalk on Avenida Ipiranga, during the short moments when the traffic light turned green for pedestrians. As vehicles stopped, the performers quickly arranged the installation. When the light changed again, cars and buses drove over the panels.

In the brief intervals between light changes, the performers carried out symbolic actions: they poured soil and red paint over the images. With the passage of vehicles and people, the panels gradually disintegrated—blending into the earth, red and white paint, and the movement of the city.
Through these actions, a new painting emerged in the urban space/time, shaped collectively by the traffic and by pedestrians—layered over the image of the Pajé and the words, becoming both gesture and trace.

A few months after the intervention, I received a message from journalist, activist, and Indigenous leader Shirley Krenak.
In the message, she shared her impressions of the video documentation of the intervention—she said she really liked it, found it very beautiful, and invited me to create a work based on a text she had written.
Her text speaks of women, healing, and the sacred.

“Estar uma Árvore” (Being a Tree) at RAUM ZEIT ZIRKUS

“I honor all the women of my country. I honor all the women of the entire world.
Because we are trees rooted in this sacred land, and we have the power to heal the world.
We have the power to heal the world!
We are empowered in the fight!
Receive the sacred energy of all the women present here, because we are sacred.
And let this moment be one that gives value to your body, your soul, your essence, and all the blood flowing within you.
Because we are earth, we are leaves, we are wind, we are all the force of the universe.
We are women of the universe.
We are women reforesting minds for the healing of the Earth.
We are warriors of ancestry in a collective process.
We are collective.“
Shirley Krenak

A Performance – Installation “Estar uma Árvore” (Being a Tree) was born when indigenous leader and activist Shirley Krenak watched the video of the urban intervention “Vozes Originárias ou o Céu que Ameaça Desabar” and sent me a text she had written in a trance state, asking me to create an artistic work with it. The text touched me deeply.

I conceived the project of the performance inspired by her text and her culture. The project was selected for Forecast Forum 7 – Audacious Minds in 2022, to be developed with mentorship from Florentina Holzinger (Bodies in Action) at Radialsystem in Berlin. The project proposed to perform a ritual with some theatrical actions using photo and video projections, inviting the audience to participate in an experience related to the theme addressed in the performance. It is a theatrical experiment that seeks dialogue and an intertwining between theatrical poetics and visual arts. Currently, the performance focuses on exploring the words Forest and Territory, through poems and personal experiences that refer to the same theme.

At Forecast, the performance was presented on an Italian stage, with a large screen projecting photographs of mining sites by Júlia Pontés. I carried out some actions on a 3m x 5m print of the indigenous activist Shirley Krenak. These actions were recorded live by a camera positioned above the stage and also projected onto the screen, allowing the audience to watch the performance both on stage and on the screen. During the performance, I was building an installation that could remain at the venue after the performance.The performance also featured the participation of musician Ivan Medeiros, who created live music, and performer Ulysses Sanchez.

Presenting the performance-installation “Being a Tree” (work in process) at RAUM ZEIT ZIRKUS was an opportunity to explore a completely different and challenging space/time. Jana offered me a few possible spaces, and I initially chose one, but it later had to be changed due to the cold weather.

When Jana showed me the spaces where the performance “Estar uma Árvore” (Being a Tree) could take place, there was a path leading to the final location of the presentation.

So I decided to also appropriate the space/time of that path—by incorporating actions from the urban intervention Colors and Traces of Origin, which was originally presented in 2021.

The Walking
Colors and Traces of Origin in the Space/Time of Being a Tree

„We are the clothing the Earth wears to walk…
We are the Earth itself, walking.“
Indigenous philosophy

For the walking some of the participants in the gathering were asked to carry printed images inspired by the Krenak culture.
There were photos of Shirley Krenak, Ailton Krenak, among others, and the participants were seen as carriers of Indigenous images.

On their cell phones, they played voices and songs of contemporary Indigenous leaders from various ethnic groups, creating along the path a time/space of listening and reflection…

The Indigenous voices, sung and spoken in their native languages and in Portuguese, echoed through the spaces, provoking different reactions.

These were the voices of Indigenous leaders speaking about their demands for land demarcation, calls for protection against projects that could cause a new Indigenous genocide, denunciations of invasions of their lands by illegal miners, and appeals against the destruction of nature and forests…

„Only a heart that was born and grew deep in the forests knows what it means for a tree to die…
I know the story of this tree…
I have known it since it was a seed…“
Ailton Krenak

Questions from the Work “Being a Tree”

What does the word „territory“ mean to you?
How can we use our bodies as territory to question social and political phenomena?
What does the word „Forest “ mean to you?

“Our bodies are seeds that feed the earth…
We are the food of the earth…
What kind of food do you wish to be for the earth?”
Shirley Krenak

On the night Jana invited me to participate in RAUM ZEIT ZIRKUS, I had a dream:
A woman was walking and juggling on the city’s power lines; it was night, and the lights were beneath my/her feet… The woman walked with skill and risked herself in dances…

Then someone said to me:
“I admire you, what you do is risk and overcoming, and you have presence… If you add poetry, then your walking becomes art…”

I woke up saying:
“What you do is risk and overcoming, but if you add poetry, it becomes art.”

“Was I a tree…
They cut me down…
I died and
Was reborn as a human being…”
Thaís Medeiros

…………………………………………………………………………………………..

Thaís Medeiros – São Paulo, Brazil

Actress, Performance Artist, dramaturge, visual artist, researcher, artivist and producer

Born in Itajubá, Minas Gerais Brazil, she currently lives in São Paulo, Brazil. Graduated at the Teatro Escola Macunaíma. Her current work explores the relationship between theater, performance, dance, visual arts martial arts and community engagement.

She has been researching acting work for 30 years and has developed her own methodology based on corporal awareness. Her research is extended to experiments in both visual and written languages. She studied theatrical anthropology with Eugenio Barba e Julia Varley. She has been practicing Kung Fu, for 15 years and she likes to dialogue this técnica in her performances. Medeiros is member of The Magdalena Project: International Network of Women in Contemporary Theatre.

She develops research and scenic experiments in the contemporary scene and uses art/poetry as a space to question and reflect on existential, social and political phenomena
She Works within a multidimensional space that allows for the crossing of aesthetic and conceptual borders, she uses her body as a territory to question and comment on social and political phenomena. She likes to explore, and examine the relationship between the performances in the spaces, also thematized spatially as her works are produced and performed in different forums between the white cube, and the black box, in the urban spaces and private spaces. She also likes to work with artists and not artists.

She founded in 2008 the colective Coletivo Galeria Gruta that is a network of independent artists focused on the encounter and artistic practices articulated by the desire and need to research and create scenic experiments and instigate/provoke artistic and cultural exchanges by appropriating public spaces and private.
She is currently working on the project ‘Estar uma Árvore’ (Being a Tree), which was selected by Florentina Holzinger: ‘Bodies in Action’ to participate in the ‘Forecast 7 Forum – Mentorships for Audacious Minds.’

In 2024, ‘Estar uma Árvore’ was presented at the RAUM ZEIT ZIRKUS 1st International ThinkTank about Site and Time Specific Circus and Performance, by Jana Korb, at CircusMühle in Kelbra, Germany.

Contact

+55 (11) 99794-1000
thaisivamedeiros@gmail.com
COLETIVO GALERIA GRUTA