Karabaré: Enamored Poetry

Wings or roots
Wings with roots
Every choice is a renunciation
A challenge
A tragicomedy
In a creator-time, beyond drama
Life is a spring of whys, intoxicated by ritual-manifestos

Space is my infinite body
And time is what happens to me

release

Arcana No. 6, known as “The Lovers” in the Marseille Tarot, was the inspiration for Santa Cia—a theater company active since 2014—to create the play Karabaré: Enamored Poetry. This original work also draws from the group’s ongoing research into Latin American artistic proposals such as Anthropophagy, coined by Oswald de Andrade, and Psychomagic, created by Chilean filmmaker Alejandro Jodorowsky. The play, which is the company's third work, premiered at the São Paulo Cultural Center from March 3 to 19, 2023, with performances on Fridays and Saturdays at 8 p.m., and Sundays at 7 p.m.

This production, like other works by Santa Cia, is referred to by the group as a ritual-manifesto. Rafael Abrahão, director and co-playwright of the piece, explains the use of the term:
"The theater performance brings together ritual, myth, festivity, and manifestation—whether it is the actor manifesting something or the work itself collectively highlighting the theme we want to address with the audience."

The plot of Karabaré: Enamored Poetry is divided into two parts. The first is dedicated to “The Fool,” one of the Major Arcana of the Marseille Tarot, and consists of a ritual with music and poetry. Gradually, a storyline emerges that shapes the second part of the performance. In it, the audience is introduced to Dira, whose story—told by the ensemble—was inspired by the Arcana “The Lovers.”

Dira is the daughter of two wanderers who vow to settle down once she turns four. They put down roots in the town of Jandira, where they open Jandira’s Bar, the setting for the rest of the play. There, Dira receives a visit from a bird who guides her through a plot full of magic, poetry, and enchantment.

The performance features both original songs by the group and classic Brazilian tunes, such as O Sol Nascerá (A Sorrir), Eu Bebo Sim, Conversa de Botequim, and Assum Preto.

important links

Media Kit - presentation of Karabaré and its project

Press Clipping

Karabaré and the SDG's

the process

After producing our transmedia works funded by the Aldir Blanc Emergency Law, Santa Companhia began researching Psychomagic, a body of knowledge proposed by Chilean artist Alejandro Jodorowsky, which places the Tarot as a fundamental symbolic tool for its practice.

In short, psychoanalysis is healing through words—a process that transforms unconscious information into conscious understanding, demanding time and effort from both patient and therapist. Psychomagic, on the other hand, is healing through acts—poetic acts—which consist of consciously sending a symbol to the unconscious. In other words, it uses the conscious mind to speak the language of the unconscious, so that through symbols and artistic operations on them, one might find healing, alchemy, or resolution. This technique draws upon psychology, art, and spirituality.

Alejandro Jodorowsky, the creator of Psychomagic, has a deep connection with theater and performance art. He believes that art and Psychomagic share the same purpose: the transformation of reality, and that both can be used as tools to access the unconscious and release emotions. He sees theater as Psychomagic in action, since both involve the creation of a ritualistic and symbolic space where it is possible to access the unconscious and transform emotions and thoughts. Jodorowsky also believes that theatrical performance can serve as a form of therapy, allowing the actor or performer to connect deeply and transformatively with their personal emotions and lived experiences.

Moreover, Jodorowsky suggests that the creation of a theater piece or performance can itself be seen as a process of Psychomagic, as it involves the creative expression of repressed emotions and thoughts, transforming them into an artistic form that can be shared with others. In this way, theater can be viewed as a powerful tool for personal transformation, just like Psychomagic.

When we encountered this broader vision, we were drawn to incorporate it into our ongoing research—especially because, like Anthropophagy, Psychomagic is also a Latin epistemology. Both arise from movements of resistance and defiance against dominant thought structures, proposing a rupture with established patterns, a rejection of hegemonic culture, and a quest for inner and collective transformation. In addition, both epistemologies value creativity and artistic experimentation as ways of exploring new paths to knowledge and social transformation. They share the idea that the artist is an active, engaged being, transforming society and co-creating a new reality.

Both Anthropophagy and Psychomagic propose a holistic and integrative approach to human beings and society, one that embraces symbolic, spiritual, and emotional dimensions of life in contrast to a reductionist and fragmented worldview. Psychomagic is a therapeutic technique that seeks emotional and spiritual healing and balance in the individual, while Anthropophagy is an artistic and cultural movement that proposes a rupture with traditions and the creation of an original and authentic culture. One looks from the outside in; the other, from the inside out.

As mentioned, the Tarot is the central instrument of this practice, and when we began studying it, we naturally became involved with the Major Arcana of the Marseille Tarot. At first, we focused on exploring a form of Psychomagic that could give wings to each person’s creative movement. In 2021, we created eight Psychomagic actions with that goal in mind.

During that same period, part of our group organized a caravan bound for Chile, specifically the cities of Santiago and Valdivia. The journey was inspired by the land, Jodorowsky’s vision, and encounters with Chilean stage and circus artists working with symbolic language. Each of the 22 days of travel was guided by one of the 22 Major Arcana of the Tarot and its associated mythology, contained within each card. A living journey, mapped through enchantment.

Upon our return to Brazil in 2022, as theaters reopened after the pandemic, we gathered the group to begin shaping our next creative movement toward a new ritual-manifesto performance. Thus began Mare Nostrum: the initial stage of creation that precedes the production of the play and aimed to generate creative material for the construction of a dramaturgy.

Over six months, we explored the body, the voice, symbolism, poetics, and actions proposed by The Fool (Arcana 0, protagonist and initiator of movement within the Arcana) and the first seven Major Arcana: The Magician, The High Priestess, The Empress, The Emperor, The Pope, The Lovers, and The Chariot. This stage resulted in 300 pages of creative material and 600 GB of scenic process videos.

With all these foundations, we aligned our symbolic research with themes that are vital to our society and condensed them poetically into the dramaturgy, such as:

• The oral tradition as a vehicle for knowledge transmission;

• Diversity and representation of beliefs and religions;

• Affective and family systems from the perspective of working women;

• Brazilian identity as a Latin identity;

• Defense of nature and preservation of biodiversity;

• Diversity and representation of the LGBTQIAP+ community.
  

KARABARÉ: ENAMORED POETRY

Who looks outside, dreams
Who looks inside, awakens
Carl Jung.

The storyline of Karabaré features a chorus of 8 actors and 5 musicians, and unfolds in two parts:

The first is guided by The Fool, a card from the Tarot deck that invites us into the essence of our primordial creative energy, the pursuit, the paths, and freedom. The prologue dedicated to this Arcana is revealed through the songs Gypsy Hymn and Hymn to Dionysus, alongside a poetic sequence that evokes the courage and creative madness of each pilgrim—figures embodied by each actor. Accompanying the prologue is the first half of the performance, titled Cantata for Love. Guided by The Lovers Arcana, it becomes an act of affective poetry led by the chorus of performers, who sing and enchant through the power of Eros: love, family, friendship, lovers, and the web that makes up human and social relations. This first part is the poetic opening of the Arcana that gives the show its name.

In the second part, The Lovers Arcana remains the guiding force—though it is now complemented by six other Arcana, present yet not predominant. In this act, poetry makes room for narrative. From the chorus emerges a coryphaeus who leads the storytelling: Dira. Daughter of two pilgrims who vowed to cease their travels when she turned four, Dira grows up in the city of Jandira, where her family now runs Jandira’s Bar, the main setting for the remainder of the play. There, Dira questions her wings of travel and her relational roots. In a state that blends reality with dream, she receives a visit from a Poetry-Bird—a mirror of her soul—who leads her through a tale filled with playfulness, songs, and enchantment, in which she, guided by her desires and reflections on freedom, embarks on a journey of self-discovery in order to make the choices necessary to guide her own life.

The narrative is carried by traveling storytellers and weaves together poetry, prose, and song, along with theatrical and circus elements such as hula hoops, puppets (mamulengos), and masks. The musical repertoire, which includes traditional samba, rhythms from Brazilian popular culture, and original compositions, complements the story—a celebration of life and the transformative encounters that alchemize our paths. Its title and artistic conception are born from the fusion of two ideas: Karavana and Kabaré.

The Fool

Arcana 0

The Lovers

Arcana VI

The Karavana

Steps that touch me are bells that embrace me
I dance to blossom blazing trails
My lascivious fluttering melody
Serpentines flutes, delirious spines
We are wanderers, we came to stay
Our caravans will never fade away
Free winds in song taking flight
Spinning fate to fortune ignite
Excerpt from the Gypsy Hymn – Igor Bueno

Karavana, in a broad sense, is a gathering of people united to undertake a journey, quest, or crossing. In the theatrical context, it refers to a way of producing and presenting performances involving a group of artists and technicians who travel together to perform in different locations—often in small towns or places far from major urban centers. At Santa Companhia, karavana harkens back to the tradition of ancient artists, gypsies, circus performers, and nomads. It is also a way to share our work with diverse audiences, promoting cultural decentralization and the democratization of access to art. It offers artists opportunities to explore new forms of production and interaction, creating bonds of affection and belonging with local communities.

Since our research is both lived and poeticized through collective experience, we continue the choral work developed in Cora Primavera to form the energetic core of this performance. Composed of eight actors, the personas of the chorus are rooted in the origins of each actor-traveler: Belém (from Pará), Dira (from Jandira), Ilha (from Ilha Bela), Liba (from Lebanon), Membé (from the Tremembé people), Porã (from Mairiporã), Tuí (from Tatuí), and Madame Aloka—the latter embodying The Fool Arcana: a gypsy, the oracular persona of the play. It’s worth noting that this brief description of the choral body results in a karavana led by the force of the gypsy spirit, also evident in the scenography and props: a tent made of fabrics (gypsy/circus-like), musicians positioned in the background, mobile crates, and a suitcase for each traveler—from which objects, costumes, and storytelling materials emerge.

The dramaturgy itself also moves in karavana, with its poetry revealed through the choral ensemble or smaller groupings: duos, trios, quartets, or solo moments. The fully poetic format of the script, brought to life through a chorus of pilgrim-storytellers, emphasizes oral tradition as a vehicle for transmitting knowledge and human experience. This method of storytelling combined with poetry is fundamental to the culture and wisdom of gypsies, nomads, wanderers, and travelers. Karabaré carries within itself the symbol and representation of a journey, provoking reflection on the diaspora of bodies as well as the diaspora of stories, symbols, and the tangible and intangible luggage each traveler carries. Moreover, it reflects on how these diasporas relate to and influence the construction of personal, ethnic, and national identities.

Just like theater and karavana, the Tarot is also a practice that can be performed itinerantly. The Tarot of Marseille is a central symbolic element in the dramaturgy and staging of this work, and we can view its relationship to Karabaré through three prisms:

1. As a symbolic manifestation of ritual:

Assuming that theater is a ritual—and a ritual is the telling, revealing, and manifestation of myth—Tarot can be understood as a key to symbolic manifestation. Through its cards, it tells a story that touches the very essence of the human condition. Each card is an archetype representing a facet of life, and the combination of cards in a reading—or in a dramaturgy—can form a symbolic narrative that helps unveil the mysteries of existence. When incorporated into performance, Tarot cards add a mythical and ritualistic layer to the narrative, acting as a living book of mythology—not abstract ideas, but embodied stage presence. In this sense, Tarot becomes a symbolic tool that enhances the ritualistic and mythical dimension of theater, connecting the audience to deeper layers of meaning that mirror existence. Through the Tarot, one can access knowledge about the world and oneself, operating in both conscious and unconscious realms, and this connection is intensified in a theatrical context, offering the audience a more immersive, transformative experience.

2. As a Brechtian “legend” of the performance:

How can symbolic interpretations help us reflect on the society we live in and our interpersonal relationships? Brecht used the “legend” technique to create critical distance between the audience and the action, provoking reflection and social analysis. In Karabaré, the Tarot is used as a “legend”—printed in A3 format and revealed by the persona of Madame Aloka as scenes begin. It serves as a kind of symbolic caption, activating the unconscious and aiding the conscious in interpreting and deepening the meaning of the scenes and character dialogues. In this way, Tarot becomes a theatrical device that enhances the audience’s understanding of the themes addressed.

3. As a psychomagical tool:

Tarot can be used in psychomagic to access the unconscious and promote personal transformation. Its cards hold deep symbolic meanings, which can be interpreted in various ways to bring unconscious emotions into awareness and enable emotional healing. This is how we tell the story of Dira. To align with Jodorowsky’s proposed practice, we share a quote from Jung and Tarot by Sallie Nichols:

“According to Jung, the unconscious and the conscious exist in a state of deep mutual interdependence, and the well-being of one is impossible without the well-being of the other. If the connection between these two great states of being is ever weakened or broken, the human being becomes ill and devoid of meaning. For Jung, consciousness is not merely a rational and intellectual state of mind and spirit. It is not something that depends solely on the human ability to articulate, as some modern philosophies claim—arguing that what cannot be verbalized or rationalized is meaningless and unworthy of expression. On the contrary, he empirically demonstrated that consciousness is not just a rational process and that modern humanity is, in fact, sick and devoid of meaning precisely because it has pursued a lopsided development for centuries—believing that consciousness and reason are one and the same.”

In sum, the Tarot of Marseille plays multiple roles in the dramaturgy and staging of Karabaré, enriching the audience's experience and deepening the symbolic understanding of the work.

In conjunction with our theatrical research, Karabaré also opened space for the circus language to manifest within the performance.
This convergence and possibility are embodied in the fraction Kabaré, which can be defined as an art form that combines elements of circus and theater to transcend conventional boundaries of entertainment. In our show, the cabaret inherits from the circus the manipulation of the hula hoop, clowning acts that bring laughter as a mirror of life, as well as a tone of eccentricity and boldness. From theater, the Kabaré adopts the narrative structure and dramatic staging, incorporating music, dance, and poetry. Furthermore, this merging of languages extends to the materialities used in both, such as the use of puppets (mamulengos) and expressive masks—presented in two formats: one crafted from gourds by the artist Lemuel de Oliveira, and another based on the technique of Chilean artist Gaspar Olivares, produced by the company.

Moreover, Kabaré can be seen as a space or practice of artistic and cultural resistance, challenging norms of gender, sexuality, identity, and other social and political issues. One interpretation sees cabaret as a form of artistic expression and resistance against oppression, censorship, and social conformity.

From a musical perspective, the presence of musicians in cabaret is of utmost importance, contributing to the atmosphere of the performance, accompanying the acts, enhancing the poetry, improvising and creating in real time, expressing the cultural identity and traditions of the artists. Furthermore, the rhythms and the way they were arranged also carry the character of a circus-theater cabaret:

• In the Prologue, we present the Hino Cigano (Gypsy Hymn), an original song by Igor Bueno, in the rhythm of bulería flamenca.

• Also in the prologue, the Hino de Dionysos, an original song by Rafael Abrahão and Rodrigo Zanettini, which blends Samba Cabula, Congo de Ouro, and Barra Vento, Afro-Brazilian rhythms rooted in the terreiros of Candomblé and later Umbanda.

• In Part One (Cantata for Love), we feature a poetry beat that merges salsa, frevo, funk, ijexá, and closes with an original Côco de Roda called Força de uma Paixão (Igor Bueno).

Part Two, which tells the story of Dira, includes traditional sambas when situated in the realm of Jandira’s Bar, such as:
Conversa de Botequim (Noel Rosa), Bebo Sim (Elizeth Cardoso), Sonho Meu (Dona Ivone Lara), O Sol Nascerá (Cartola), and Imitação (Batatinha).
When in the dream realm, each Bird brings a rhythm:

• The White Bird evokes lyricism with Canção de Lá (original by Igor Bueno) and also Hispanic latinidad with the instrumental Gracias a la Vida (Violeta Parra);

• The Crimson Bird brings a forró atmosphere—with Sabiá (Luiz Gonzaga), Forró do Fogo de Lá (original by Igor Bueno), and the instrumental Assum Preto (Luiz Gonzaga)—blended with the rhythm of Bumba Meu Boi, a folk celebration from Maranhão, featuring Gaiola de Ouro (José Pereira Godão);

• The Rainbow Bird closes the performance with the original carimbó Liberdade Festeira (Igor Bueno).

In addition to transitions and interludes guided by other traditional Afro-Brazilian rhythms and instrumentals that shape the identity of the performance, the soundtrack is revealed through the caravan’s traveling musicians:
Cotia (from Cotia) is an accordionist, pianist, and conductor;
Cirica (from Itapecerica) is a guitarist, percussionist, and composer;
Apé (from Tatuapé) is a percussionist;
Guará (from Guarulhos) is a guitarist;
Pyra (from Itapira) is a trumpet and clarinet player.

In terms of costume design, the acting personas display elements that highlight the gypsy caravan, while the music personas embody traits linked to the circus-theater cabaret.

The hybrid nature of the Kabaré is also evident in the format of our performance, which can take place both indoors and in open spaces. This format has also inspired and driven our research into audience development through the practice of co-performance, which utilizes tools from popular culture, such as:

• participatory music, involving the audience actively through singing, clapping, and body percussion, further integrating the scene with the public;

• poetry readings;

• dance;

• olfactory and gustatory provocations.

These are practices of a co-acting audience, not excluded from the theatrical event, but composing it as part of the whole that constitutes theater: conviviality, poiesis, and audience.

The Kabaré

synopsis

The story of "The Lovers" unfolds through the poetics of the Sixth Major Arcana of the Marseille Tarot, interwoven with the journey of Dira, the protagonist of the event. In search of herself, she encounters poetry-birds that mirror her soul, in a plot filled with desire, freedom, and the necessary choices to lead one's own life.

The narrative is guided by traveling storytellers and permeated with love and passion, as well as everyday life and dreams. The musical repertoire—which includes traditional sambas, rhythms from Brazilian popular culture, and original songs—complements the story, a celebration of life and the encounters that transform our path.

Duration: 110 minutes (including audience entrance and exit)
Age rating: Suitable for all audiences
Recommended for ages 12 and up

history

Centro Cultural São Paulo - CCSP
Premiere season at the Ademar Guerra Room (Basement)
Fridays, Saturdays, and Sundays, from March 3 to 19, 2023

Credits

Playwright: Ade Branco, Igor Bueno, Rafael Abrahão, y Ricardo Rapozo
General Direction: Rafael Abrahão
Poet Counselor: Ade Branco
Music Direction: Rodrigo Zanettini
Body Preparation: Anna Merici
Vocal Coaching: Luíza Abe
Cast: Ade Branco, Anna Merici, Débora Predella, Demétrio Abrahão, Igor Bueno, Luíza Abe, Mada Rocco, Pedro Coêntro, Rafael Abrahão, Rafael Pinto, Renato Ihu, Ricardo Rapozo y Rodrigo Zanettini
Art Director and Stage Architect: Lais Damato
Stage Management: Isis Patacho
Sewing and Costumes: Ade Branco, César Augusto, Harth Brito y Maria José Gomes Moreira
Gourd nose masks: Lemuel
Bird masks: Isis Patacho, José Eduardo Faria, Lais Damato y Rafael Abrahão
Red Bird Mamulengo: Uberê Guelé
Graphic Art: Mari Pavanelli
Lighting: Hart Brito (Temporada CCSP) // Nara Zocher (demais apresentações)
Sound Design: Lucas Tancsik
Compositions:
Igor Bueno - Hino Cigano, Força de uma Paixão, Canção de Lá, Forró do Fogo de Lá, Liberdade Festeira
Rafael Abrahão e Rodrigo Zanettini - Hino de Dionysos
Production and booking: Stéphanie Glória
Press Advisor: Pevi 56

arrive sing tell fly

Review by Amilton de Azevedo from Ruína Acesa on Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia, has a short run at the Centro Cultural São Paulo

Gazeta da Semana promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

[News] Brand-new show: Karabaré: Poesia Enamorada, by Santa Cia., has a short run at the Centro Cultural São Paulo

Reino Literário promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

clipping

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia., has a short run at the Centro Cultural São Paulo

Ocimar promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia., has a short run at the Centro Cultural São Paulo

ABC Reporter promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia. has a short run at the Centro Cultural São Paulo

O Bilhete da Notícia promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia., has a short run at the Centro Cultural São Paulo

Portal Meia92 promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia., has a short run at the Centro Cultural São Paulo

JBN Bahia promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia., has a short run at the Centro Cultural São Paulo

Portal Nerd Recomenda promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Final week of the brand-new show Karabaré

Brechó Cabaret promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

ENTERTAINMENT: "Karabaré - Poesia Enamorada"

O Resumo da Moda promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Brand-new show Karabaré: Poesia Enamorada, by Santa Cia, has a short run at the Centro Cultural São Paulo

Patricia Finotti promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Santa Cia debuts Karabaré

Trends CHK promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Santa Cia's Karabaré

Blog Taís Paranhos promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Santa Cia's new work continues its run

Backstage Musical promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Karabaré - Poesia Enamorada

Sampa Online promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

Karabaré - Poesia Enamorada

Portal e.urbanidade promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

The history of "The Lovers"

Onde tem Musical promotes the season of Karabaré: Poesia Enamorada at CCSP, March 2023

interviews

Rafael Abrahão from the play Karabaré: Poesia Enamorada

Rafael Abrahão gives an interview with more details about the creation of Karabaré: Poesia Enamorada

In Santa Companhia

Ade Branco

actress, counselor and playwright

Demétrio Abrahão

actor

Anna Merici

actress and body preparation

Débora Predella

musician

Lais Damato

stage architect and art director

Igor Bueno

musician, composer and playwright

Isis Patacho

stage management

Lucas Tancsik

sound design

Nara Zocher

lighting

Mada Rocco

actress

Luíza Abe

actress and vocal coaching

Pedro Coêntro

actor

Renato Ihu

musician

Rafael Pinto

actor

Rafael Abrahão

director, playwright and musician

Ricardo Rapozo

actor and playwright

Stéphanie Glória

production and booking

Rodrigo Zanettini

music director and musician