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Brazilian Troupe at Havanas Theater Season
Without a grain of fiction, the groups performance tell the story of three people who rose out of the garbage dumps along the suburbs of Brazilia, where the group was founded in 1982. These characters come to life under the fabulous actors-musicians: Marcio Vieira, Luciano Porto and Marcelo Bere. With the movements of their bodies, precise gestures, and few words, they shape the core of a plot that comes from Brazil, but that could come from any country invaded by extreme consumerism, the debris of which are used to live, and survive, by those living under extreme poverty.

Without flapping their arms like clowns do or using lots of makeup, these three actors, masterfully led by young theater director Leo Sykes carry out their performance, supported by scenery created, among other things, with plastic bags, wheels, soft drink cans and containers of various sizes as music instruments. These stories could be painful if not for the optimism and hope emanating from them: theyre garbage people, but they hang on to life.

As Sykes told Granma, "The most important thing for us was to show that, even when living in poverty, people can be creative and dream. They are not dead. On the one hand, we find material poverty; on the other, human creativity. Its not lament, people are like you and I. We also want to show the good side of everything."

With experiences in acrobatics, juggling, magic, mime, and a universal language, Udi Grudi starts from the premise of breaking with traditional theater. Internationally known since their staging of O Cano, the group has gone beyond the borders of Brazil and have performed in South America, Europe, China, and the United States, and will soon go to Canada. Cuba has touched their hearts: "The public is well educated, open, and warm," said Sykes.

The Mayo Teatral theater season, organized by Havanas Casa de las Americas cultural institution, has brought Udi Grudi to Cuba so that we can enjoy their art with its Ovo production, an egg made up of wrapping paper "tasted" in one of the scenes that gives the play its name. In short, the disconcerting sense of an absolute sense of humanism.


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