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Five hours of Brazilian anarchist theater that will unmake you and remake you stranger.

Os Sertões: O Homem II — da Re-volta ao Trans-homem (2003)

operatic fever dreamcollective possessionrevolutionary theater

Overview

Dedicated to "the creation of an heroic and anti-heroic attitude of those that go to war and say: Farewell Man!," the theatrical version of the second movement of the second part of Os Sertões presents the passage from the re-volted man to the trans-man, creator of an alternate possibility for human adventure on Earth. From the story of Antônio Conselheiro, all theater relives its seminal death: a common man who, out of love, transmutes into an anti-messianic leader, gathering a legion of "sertanejos," roots of solidarity in the inlands of Bahia who, in a community effort, raise dams, churchs, and cemiteries. The community had at one point 25 thousand inhabitants, in its days the second largest city of Bahia. Capuchin Friars attempted to disperse the people of Canudos "diplomatically." Their denial to obey the official religious order led the Evangelist Friar to damn the followers of Antônio Conselheiro in the name of Jesus. The City prepares for war.

Flag of PTPTPortuguese

Standout Aspects

Direction

José Celso's anarchic staging that dissolves actor and audience.

Production

Five-hour endurance ritual as aesthetic choice, not indulgence.

Writing

Euclides da Cunha's prose weaponized for the stage.

Best for:Theater: See it where it breathes: live, sweating, collective.·Solo: No one you know will sit through 345 minutes. Brave it alone.·Rewatch: Return yearly like pilgrimage. You'll need multiple lives.
Heads up:Disturbing: Prolonged psychological intensity; religious mania rendered viscerally.·Violence: Implied and anticipated massacre; collective death as climax.
H

Director

Henrique Palazzo

ReleasedNov 15, 2003
Runtime5h 45m
StatusReleased

Vibe

Paceslow
Intensityhigh
Tonedark
Feelheavy

Ask about Os Sertões: O Homem II — da Re-volta ao Trans-homem

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Deep Dive

Trivia, insights & behind the scenes

Cultural

Canudos was real: 25,000 sertanejos massacred by Brazilian military 1896-97. Euclides da Cunha's account became the 'Bible of Brazilian nationality.'

Insight

Zé Celso's Teatro Oficina pioneered 'environmental theater' in Brazil—this staging likely surrounded spectators, dissolving fourth wall into ritual space.

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