From biographical narration of each actor, Companhia Hiato with dramaturgical installations and scenic questions about the need for fiction and our inability to abandon it, dissecting in scenic process. Centered in the artists relations with their families, personal testimonies will be exposed that settle in a fictional space. The idea of "intimacy" and "document" associated with a dramaturgical thought into six independent intervention that serve as raw material for the creation of the play "two fictions".

Fiction #1 – Thiago Amaral
Thiago Amaral proposes the creation of a fiction as a pretext to rebind with his father. Running the creative project of his father –"Extinction of Wild Rabbits" – accompanied by him on stage, Thiago exposes the personal motivation of an artistic creation, inseparably uniting his life to his work.

Fiction #2 – Aline Filócomo
Aline Filocomo exposes an "encyclopedia of impossible Alines" unveiling the procedures used in creation of an impossible fiction, reviewing the plays she's already done, the plays her sister's has created (actress as well) and those who both will never be able to do, to question the limits of imitation and repetition.

Fiction #3 – Luciana Paes
Luciana Paes questions the authorship in a creative and collaborative process to fictionalize his abandonment of the theater before doing an art project inspired by the artist Frida Kahlo, but never done / or performed by another.

Fiction #4 – Maria Amélia Farah
Maria Amelia Farah says the daughter's transition to motherhood, merging the experience of motherhood with the creative experience. Recounting her biography and attempts to kill her mother, the actress reveals her own relationship with failure and cruelty exposure of a biography.

Fiction #5 – Fernanda Stefanski
Fernanda Stefanski exposes, through photographs and reconstitution, a family tragedy – the possible suicide of his uncle – questioning the ethical limits involved in the coincidence between art and life, repetition and printing, fiction and reality.

Fiction #6 – Paula Picarelli
Paula Picarelli becomes a character of herself, proposing to dissect fictional procedures of an actual interview with herself or with the fictional image she has built for herself.

Cast & creative team

Director and Dramatist:
Leonardo Moreira

Aline Filócomo
Fernanda Stefanski
Luciana Paes
Mariah Amélia Farah
Paula Picarelli
Thiago Amaral

Dilson do Amaral
Milena Filócomo
Pedro Tosta

Art Director (Set and Lighting Designer):
Marisa Bentivegna

Scenery Assistant:
Ayelén Gastaldi
Julia Saldanha

Costume Designer:
João Pimenta

Ambiance and Sound Effects (ficção – original song):
Kuki Stolarski

Artistic Painting:
Igor Alexandre Martins

Dramaturgy Nucleus:
André Felipe
Diogo Spinelli
Mariana Delfini
Michelle Ferreira
Rafael Gomes
Thompson Loiola

Corporal Training:
Sônia Soares

Photos and videos:
Otávio Dantas

Graphic Designer:
Cassiano Tosta / dgraus

Production, Management and Creative collaboration:
Aura Cunha

Elephante Produções Artísticas


"It's an opportunity to see the work of Companhia Hiato of São Paulo, directed by Leonardo Moreira who stars in a research interested in a dimension of play and scenic language opening beyond any didacticism or theoretical programs, a friction ball is formed among myth, fiction and the spectacle powers as drivers of reality. (...) In Ficção the character shows as actor and it is not configured primarily as a whole, but by a movement that includes random, inversions, masks, false and unexpected gestures dependent on its intentions and apprehension, in other words it appears an intermittent 'dance' crossings between appearance and truth. (...) Ficção is a work on detail, an aesthetic refinement of small things".

Dinah Cesare – Questão de Crítica Magazine

"Ficção is a little like a onas Mekas' video-diariy. Obsessively subjective. Honestly impure. Radically original".

Lucas Mayor

"The fact is the way they are staged, these solos extrapolate the individual making the spectator reflect on the collective. (...) The cast work is exquisite deserving all acting awards of the year. (...) Courageous and poignant, Ficção takes tears and makes you think. Perfect balance between reason and emotion. And do not arts serve for this?"

José Cetra – Palco Paulistano

"... It distends the relation between the way of life (the real) and the means of creating (art) to touch the approaches of truth and lie, actor and character, audience and stage. The director Leonardo Moreira rehearses demarcate actors' life fragments translated into individualized scenic projects. (...) The stories are not dramatic documents or emotive testimonies, but a pretext to establish theatrical fictions, forms of language appropriation serving to construct an expressive vacuum. Ficção fills the distance proposed by hiatus (it is not pointless that the company adopted the name) and the quotes (reinvention of experiences), an intense exchange of codes that are on stage with those who are in the audience. "

Macksen Luiz

Two Fictions

The spectacle is in process and without a premiere date.

From the idea of "fictions which involve fictions" the dramaturgy of Duas Ficções will be structured as a geometric progression, in other words, it will be prepared for complementary layers. In simple terms, we would say that such structure leads us to the famous Russian dolls – a hollow dolls series that are placed inside each other, from largest to the smallest one. Similarly, the dramaturgy operates: A fiction that brings in its diegesis another fiction that presupposes another fiction and so on.

Elements and choreographic concepts – inserted through specific training – show duplicity and imitation that dramaturgy suggests. One of these imitations, for example: The actress who copies a movie actress playing an actress who plays a character – it suggests a game of multiple fictions. This game causes oscillation in actor's body. Every time that this "oscillation" arises, there is a rupture, a discontinuity. Not only the actors' composition undergoes a change, but also the order of perception the audience has built is destroyed and another order has to be established. The instability moment gains relevance, the gap between the perception changes, the threshold – an order of perception is changed, but another is not established yet.

Direct affluent of Ficção, this new show continues to investigate the gap between fiction and reality. Between these two impossible limits in any theatrical performance, there is a great possibility of transgressions and hybridism, since the boundaries between the two concepts are not clearly drawn but instead always blurry. In this place, between experience and real testimony and immateriality of theatrical play – a space of displacement and fictional and real layers overlapping – located in the main interest of Companhia Hiato.