Grupo dos Dez resumes work in Belo Horizonte with a unique presentation of the show Madame Satã, this Sunday (01), at 8pm, at Sesc Palladium. The return to the stages of the capital of Minas Gerais marks a new moment for the company, which completes 15 years of history and reaffirms black theater as a fundamental pillar of Brazilian culture.
Directed by João das Neves and Rodrigo Jerônimo, Madame Satã is part of the project “Grupo dos Dez – 15 anos de Teatro Negro”, approved by the Federal Culture Incentive Law, carried out by the Ministry of Culture and presented by Petrobras. The initiative foresees more than 60 presentations in seven states, bringing together new works, renowned shows and training actions aimed at the dialogue between art, memory and territory.
In addition to the re-presentation of Madame Satã, the commemorative program includes the premiere of the new show Afroapocalíptico, on March 13th, at Palácio das Artes.
The montage is based on the worldview of Congado Minas Gerais to build an immersive, sensorial and political artistic experience.
Like other independent theater collectives, the group has faced periods of suspension and uncertainty in the wake of the pandemic.
The return to the city, which last hosted the show in 2018, carries the desire to expand borders, decolonize narratives and reaffirm black theater as a structuring element of Brazilian cultural production.
Co-director and playwright of the show and coordinator of the commemorative project, Rodrigo Jerônimo highlights the symbolic value of the resumption.
“Reaching 15 years old means looking back and recognizing everything we have achieved, but also reaffirming that our work only makes sense when it is capable of collectively creating and transforming realities”, he states.
For artist and musical director Bia Nogueira, returning to the stage consolidates a vocation that has always been at the center of the company: making art a means of meeting, listening and belonging.
“Being back with this season means enhancing voices that reflect Brazil in all its diversity and affirming that art should be accessible to all people”, he says.
Madame Satã is the group’s third show and uses the biography of João Francisco dos Santos to dialogue with criticism of homophobia, transphobia and racism.
Madame Satã show addresses themes such as identity, racism, homophobia and transphobia – Photo Felipe Barbosa/Disclosure
The work also gives visibility to characters historically pushed to the margins of society, by addressing stories that do not fit into the current heteronormativity.
Originally staged in 2014, the musical premiered in 2015 and remained in circulation until 2019, with performances in several Brazilian capitals. Among the recognitions received are the Brasil Musical Award 2019, in the category of best musical show in the Southeast Region, and the Leda Maria Martins Award 2017, as best show.
Rodrigo Jerônimo also highlights that the show undergoes updates throughout its history. According to him, following the story of Madame Satã is accepting an invitation to move and listen to narratives that society insists on marginalizing.
“Although hate speech has been permeated in our society since the beginning, it is important to show that crimes remain unpunished and continue to happen in Brazil, such as the murder of black, indigenous and LGBT people”, he states.
Madame Satã is the only show by João das Neves still running among more than 40 works directed by the director.
Created in 2009, Grupo dos Dez has established itself as a national reference by investigating the intersection between black theater and Brazilian musical theater, inspired by popular, African and indigenous traditions.
Show Madame Satã returns to the stages of Belo Horizonte and marks 15 years of the group – Photo Felipe Barbosa/Disclosure
Along the way, the company shed light on topics such as homosexuality, the challenges faced by the black population, the struggle of women and the fight against oppression against LGBTQIAPN+ people.
In addition to producing shows, the group maintains initiatives aimed at strengthening Afro-indigenous culture, such as Aquilombô – Fórum Permanente de Artes Negras, Festival Imune and Laboratório Editorial Aquilombô. The actions contribute to promoting black LGBTQIAPN+ employability in theater, literature and music.
By resuming performances in Belo Horizonte, the company reaffirms the importance of black theater as a space of memory, formation, belonging and production of new narratives, at the same time that it projects the future of work committed to social transformation through art.
