She graduate from the Federal University of the State of Rio de Janeiro (UNIRIO). She also studied in the Parque Laje School of Visual Arts. She was selected for both the 2015 and 2019 editions of the Brazilian Student Exhibition in PQ – Prague Quadriennial of Space and Performance Design. Some highlights from her work in theatre are the set for “Amor, te” (2014), directed by Pedro Struchiner and the set and costumes for the plays “Dandara Through The Looking Glass” (2016), directed by Diêgo Delêon, and “Is Someone There?” (2019), directed by Bernardo Lorga. She works with Multifoco Companhia de Teatro, with whom she created the costumes for the play “Migraaaants” (2018), and the costumes and set for “The Yellow Knight” (2019). In 2020, she was the assistant director, set and costume designer of the play “Leonilson, all rivers lead to your mouth”, directed by Marina Vianna. She received the award for best scenography in the 28th International University Theater Festival of Blumenau for the play “Amor, te”. For the short film “Broto” (2018), directed by Antonio Teicher, she received the award of Best Art Direction in the 2nd Festival Tela Universitária. In UNIRIO, she developed a research project in which she discussed the role of objects in works of art and the concept of a “live” object in many artistic fields. Stemming from this research, she published an article in the periodical Ensaia, titled “Performative Objects: the life of objects in contemporary scene”. She works also with graphic design and as an assistant for some major Brazilian set designers, like Aurora dos Campos and Bia Junqueira. She is currently working in an on-line theatre project and as assistant set designer for the exhibition UNA(S), scheduled to open in November in Rio de Janeiro.
Abstract title: THE OBJECT AS A CREATION: A SCENOGRAPHIC METHODOLOGY
What are the possible creative processes and paths for a research project in the field of scenography? This investigation aimed to explore the possibility of transposing an experience of perception and exploration of objects as a methodology for the creation of scenic spaces. The project was the development of a research carried out during the undergraduate course in scenography and costume design, in which I investigated the presence of everyday objects in several works in the various fields of artistic practices, analyzing works from theatre, dance, cinema and animation, as well as works in the field of visual arts. The research examined how these pieces explored aspects of our relationship with objects that we usually do not pay attention to, glimpsing other ways of relating to the things of the world.
Inspired by the catalogue of Portuguese scenographer José Capela, “Ways of doing nothing”, in which he presents his works addressing types of projects and creative processes, the research was based on the possibility of using the object as a kind of methodology for creating scenographic spaces. The proposed premise for this research was the use of objects as a starting point, experimenting with different scales to create new meanings and provocations, while also transforming it to the point that in the final design it was not possible to identify its presence. For this experiment, the chosen text was “The Story of the Pandas Bears Told by a Saxophonist with a Girlfriend in Frankfurt”, by the Romanian playwright Matéi Visniec. As a design challenge, I proposed the use of three objects selected from the dramaturgy – a wine bottle, an alarm clock and a bird cage – as the formal principle of three scenographic projects, developing a situation in which these inanimate elements could function as parties to an aesthetic investigation, encompassing plastic research in form, color, and materiality. For this, I performed practical scale experiments with these objects, to create a series of small spatial compositions that were photographed, and afterward developed in three scenographic projects, designed for theatrical spaces in the city of Rio de Janeiro.
