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Presentation
Em comemoração aos 25 anos de fundação, a CiaTeatro Epigenia apresenta seu novo projeto teatral: a história pregressa de Lorde Cigano, personagem eternizado por José Wilker no filme BYE BYE BRASIL de Cacá Diegues. Uma analogia criada para contar a origem da existência desse personagem antes de se tornar um ícone da cultura nacional! Objetivando uma equidade social e de gênero, o elenco será composto por atores/músicos trans, LGBTQIAPN+ e negras(os) selecionados através de 03 workshops com 20 vagas em cada, de onde serão selecionados 10 artistas para um mergulho teatral de 04 dias, para escolhermos o elenco que se juntará ao ator Gustavo Falcão.
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Epigenics as a concept
Powerful
Analogy
Before becoming a Lord, he was just a country boy, enchanted by the colors of the fairs, the soft-spoken strangers, and the magicians of straw and smoke. He came from a gypsy family, but soon traded the dirt trail for the promise of the railroads.
He heard on the radio that the world was bigger and that the big city shone like fake gold, but it was still gold! And he believed it.
He left the backlands, the gypsy village where he grew up. The train carried many people's dreams, his own too. But the big city is a beast with sharp teeth—see, lose, fall. He slept on police station floors, worked for a plate of food, laughed nervously. Read and run, as the old saying goes. But he never lost the sparkle in his eyes or the twisted idea that life, however hard, could still become a spectacle.
With faith in God—and in his own talent—he would one day win the lottery. Or invent one. And that's how Lorde Cigano was born.
Not by title or inheritance, but by his own invention. An artist of the abyss, a magician of scarcity. With his caravan of enchantments, he followed the Trans-Amazonian Highway and the detours of destiny, creating an imaginary Brazil where poetry still had a place—even if on top of a truck.
Conceptual Proposal
The idea
This project reaffirms the essential role of culture as a tool for transformation and social equity by promoting a street theater performance with profound symbolic, poetic, and territorial impact. It is a celebration of the traveling artist—the artisan of the stage, the magician of words, the healer of the collective—who brings art directly to the people.
Performing in public squares and engaging with communities often excluded from the cultural circuit, A Fantástica Caravana Mística de Lorde Cigano represents a gesture of resistance and enchantment.
The initiative promotes cultural dissemination and values diverse expressions of Brazilian identity, guaranteeing free access to art in regions far from major cities. Its strength lies in the circulation of a show that activates local networks and reaffirms popular artists as bearers of sensitivity, memory, and transformation.
The show draws from the mythical figure of Lorde Cigano—a character immortalized by José Wilker in Cacá Diegues' classic Bye Bye Brasil—to offer an original Brazilian narrative. Here, Lorde is Franco Rroma, a traveling artist, half healer and half illusionist, who travels with his wife Graça—a trans woman—and his manager Teófilo, of Puerto Rican descent. Together, they form the fantastic "Caravana da Fé," which travels through cities bringing promises of healing and enchantment. With live music, poetry, singing, and circus, the three artists—accompanied by a fourth musician—enchant the audience with their pain, love, and lyricism.
The play deals with friendship, love, and faith in humanity. Healing happens through art. The dramaturgy of the show arises from a previously written spine, but takes shape through its relationship with the territories, improvisations, and listening to the performers. The obligatory simplicity creates an aesthetic close to Fellini's lyricism—Brazilian in its essence and symbolic in its delivery.
The representation of identifiably Brazilian stories and characters—from a Brazil often outside the everyday urban gaze—contributes to the strengthening of a plural cultural identity, rooted in affection, belonging, and national pride.
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Brazilian Theater: Equity & Quality
Androgyny of Gypsy Lord
Cast
Inclusive
Inclusive casting means offering roles written for men to women and ensuring that gay, transgender, and disabled actors have opportunities to play people from their own communities and beyond. The goal is to address systemic inequalities that exist in the industry, providing more work for marginalized groups and preventing the erasure of non-white, non-binary, gay, and other people from important roles.
In our case, we were inspired by Lorde Cigano's androgynous artifice in his illusion shows to create the young man who precedes him. The actress is a person who was born male but identifies as a woman; her way of dressing is the same as yours, the reader of this proposal: varied, according to the spirit, desire, and mood of the day. She will play the male character, Franco Rroma, who identifies with Lorde Cigano's androgyny. The actress is a trans woman. She was born male, but her intimate and social life is entirely lived as a woman. She will not play a woman in the play. Grace is precisely an inspiration in this reality of the actress's own life: a trans woman who is married to a bisexual man. We will also feature a cis actor, born male and identifying as such.
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Cast composed of three notable and multi-talented artists who sing and act, being a reference in the arts
for a long time.
CiaTeatro Epigenia brings a proposal of "inclusive casting", not for welfare, but for great Quality and Talent.
Thus, by addressing systemic inequalities, we provide more work for marginalized groups and prevent these people from being overlooked in important roles, always prioritizing quality in the selection of these artists, thus ensuring a cast of the highest quality.
The story
Strength of
structure
dramatic
One of the main characteristics of theater is its ability to "ghost"—allowing the audience to feel like "we're seeing what we've seen before."
This type of reception theory, or "ghosting," is important for your understanding, and for future audiences, of the play's dramaturgy. Our history is made of the past, or pasts!
Theatrologist Marvin Carlson observes that theater is the repository of cultural memory, but, like each individual's memory, it is also subject to continuous adjustments and modifications as memory is evoked in new circumstances and contexts.
Both the dramaturgical aesthetic and the way it is told are permeated by previous experiences and associations, thus the experience of watching the show approaches the concept of "ghosting."
The process of ghosting is a process of many repetitions and retellings of stories, in our case, of the same story. It is told by three characters: our Gypsy Lord, his lover, the trans actress Grace, and his manager, the musician Teófilo.
The retelling of the story creates this "ghost effect" in the viewer. Carlson says, "all theater is a cultural activity deeply involved with memory and haunted by repetition."
These ghostly repetitions are found not only in the play's text, but also in the costumes, scenery, and music. Theater, as Carlson states, "is, and always has been, told by its ghosts. And this haunting has been an essential part of the meaning and reception of theater by its audiences in all times and places."
Grace, Teófilo, and Franco Rroma himself tell the story of the Mystical Caravan of Good Healing. The three travel through the countryside of Brazilian cities, holding encounters of "faith and healing" with the great healer Franco Rroma, later transformed into Lorde Cigano in Cacá Diegues' film. The show is structured around people's faith in the Gypsy Franco Rroma, how he manages to make people believe in unimaginable things… the story of a healer and his power to bewitch his patients with his prayers, his music, and a lot of magic!
Dramaturgical concept
The illusion
and
PROPOSALS
Sesc Pompeia's common area
STAGES: small units
Felliniana
Licença
Poética
Our interest in delving into this universe lies in the poetry and beauty of places in our Brazil, where the natural thing would be to simply exist. Living life alone, merely recording an existence filled with solitude, pathetic days, and a future destined to merely wait for the end. However, in Brazil, we still see characters imbued with a sincere fascination with the idea of art, the magical, the ethereal... giving rise to the purest essence of 'handmade' spectacles. The Craftsman, the Magician, the Artist... the obligatory simplicity that creates an aesthetic close to Fellini's lyricism.
Go down the moonlit road
So many people leaving
Taking only necessities
Missing your place
