29 Jan HABITADA by Juliana Notari //
Musical stage show that opens the sensitive body of a puppeteer and reveals her doubles.
An evicted, multiplied and torn body Who defines me? What defines me? These two questions made the Brazilian artist Juliana Notari open her creative process to reveal her doubles, the other Julianas that inhabit her, that support her and behave her. The show stems from the estrangement in being a puppet artist, woman, artist and creator.
The artist has detected the desire to split in the middle and multiply in infinite possibilities of the gaze, of being, when every day you fit into a system. She works her flesh eyes to build the object-puppet eyes. She breaks down the process to transgress it. We are a sum of elements that make us, for example, move in the world. We relate to things through endless poetic minigests that make up an action. The primary gesture is the look. It is subtle, dim, intimate. The look comes before accelerating, from adrenaline, persuasion. The look is presented to the desire.
The look is what she tries to understand so that her puppets have eyes and soul. The look is complex and depends not only on the vision. The look depends on the understanding of the parts and the existence. This is the most intangible process in animating. She, the puppeteer understands herself, her parts, her existence and adds a new body to her own, that is extension, that breathes poetically and annuls the person for moments. Inhabited is the construction beyond the body. She is home, world, universe. It is a tree, anima, expansive matter. The idea arises from the strangeness of being a puppeteer, woman, artist and creator. In concreting a sensitive world, but at the same time concrete. In building and manipulating the other, and giving encouragement to the unknown, to inert matter.
Juliana Notari Habitada
Musical stage show
She is a Brazilian artist and puppeteer. She has a fascination for the eyes and hands of people. She can look for hours and hours at the path that ants make on the walls of her house. She dedicates and dives deeply into the art of the puppet and its infinite possibilities of fusion and construction. From the option of the material’s choice, to the composition of the gestures to the minimum details, she goes through all the stages of the creation of a work.
She works for the diffusion of the contemporary puppet and has already moved around a little piece of the world to present her shows. In 2018 she completed 18 years as a puppeteer, toured Mexico, Argentina, Spain, Colombia, Latvia, France, Korea, Portugal, Czech Republic, Bolivia, Italy, Switzerland, among others. She is currently the manager of the Cultural Condominium in São Paulo, where she has a collective research workshop for the contemporary puppet, El Taller de la marionete libre, next to the Argentine puppeteer Matias Arce.