The play deconstructs and reconstructs millennial concepts of the history of civilization – body and soul, right and wrong, betrayed and betrayed, obedience and disobedience.
Alone on the stage, Clarice Niskier is in direct contact with the audience, without making use of the so-called “fourth wall”. To tell stories and parables of the Jewish tradition, the actress only uses a black phantom chair and a large black cloth that, conceived by costume designer Kika Lopes, becomes eight different garments – robes, dresses, burcas, veils. The scenic space designed by Luis Martins is clean and reminiscent of a long perspective runner.
Clarice chose not to work with a theatrical direction in the traditional sense, but with the supervision of Amir Haddad, who has been doing this work with some actors. “Super-vision can mean a higher or higher vision, capable of unraveling something that other mortal eyes would not be able to see. Just like the superman (quoted in the show) with his x-ray vision. But it can also mean an over-vision, a view from above, of the things that are happening. For example: ‘The earth is blue’ said Gagarin, flying over the planet. What I do with Clarice, a beautiful actress, a brave woman, looking for her place, is to try to give her the vision of who is outside, and sometimes from above, so that she can better understand and guide her in the maintenance of its orbit. It gives me more pleasure to watch and assist an actor in the divine exercise of his craft than to invent sound and light effects and some markings and then announce ‘the director’. I dream of an actor who owns his own text and in this way, able to illuminate the text of another by the clash of his ideas, “proposes Amir.