The Spectacle

Zaac and Zenoel were inspired in two scientists (Izaac and Nathaniel S. Muttner) that lived in a distant past and remained unknown for a long while. As they got hunted down for their revolutionary ideas, Izaac and Nathaniel set up an underground laboratory where they lived alone, dedicating almost exclusively to scientific and philosophical research. Enclosured in their underground laboratory, they made use of fantastic machinery in their experiments, in which they were the cavies themselves. Zaac and Zenoel are synonyms of the idealistic doctrine where to live and to dream are strictly the same.

 


The spectacle, “Zaac & Zenoel” continues Grupo Oficcina Multimédia’s scenical research and incorporates in its language the use of masks, characterising Zaac e Zenoel. These characters are going to conduct the plot of the spectacle and introduce us in a fantastic laboratory, where their experiences based upon the collective imaginary take place, always trying to answers the questions about life and death.

 


The History

The assembly of "Zaac and Zenoel" sponsored by the Municipal Law of Incentive to the Culture of Belo Horizonte (MG), opened in the concert hall of Lapa Multishow/BH, in 1999. Performed in the Sesc Consolação/São Paulo(SP) in the project Balaio Brasil, and also in the International Theater Festival of Caracas/ Venezuela, International Theater Festival of Belo Horizonte among others. The group traveled throughout the States of Minas Gerais and Rio de Janeiro. Ione de Medeiros received the Prize Bonsucesso for best direction.

 

Critics

"(...) Zaac & Zenoel resulta así una escalofriante elaboración poética del maquinismo; es la exhibición de la fascinante estética larvada en el universo industrial; y a tal efecto nos ofrece una síntesis de acción, parafernalia escénica, luz y sonido que sólo puedo calificar de magistral.“
“(...) presencié una suerte de impresionante ballet mecanizado que me emocionó y me condujo a reflexionar sobre algunos aspectos de esta existencia."

Rubén Monasterios, Periódica “El Nacional”/Caracas, 06/04/2000

"It represents the beginning of an interesting, exaggerated and chaotic era, but also full of a personal brightness. A rare creativity in the Brazilian stages. A must see! "

Eid Ribeiro, Periodical “O Tempo", 15/10/99