Of the eight theatrical shows put on by Gonçalves and Eichbauer, 3 two are notable for the fact that the two artists gave joint theater courses during the productions. 1 From 1967 to 1971, he was associated with the theater director, professor, critic and scenographer Martim Gonçalves (1919-1973), 2 who was cited by Eichbauer as the most Brazilian of the directors with whom he worked, given his profound love for his country and connoisseurship of the “breadth and richness” of Brazilian culture (Eichbauer, 2006, p. Upon his return to Brazil, following his study of geometric abstractionism in Prague and his sojourn in Cuba, which injected tropical color into his work, Helio Eichbauer worked on projects including the set design for the show O rei da vela, by Oswald de Andrade, in 1967, with José Celso Martinez Corrêa and the Teatro Oficina, in what was a theatrical landmark of tropicalismo. In 1966 he spent time in Cuba, where he was a member of the jury of the Latin American Theater Festival, promoted by the Casa de las Américas, and where he worked with the Teatro Estudio, touring to several theaters on the island with a production of La noche de los asesinos, by José Triana. ![]() Helio Eichbauer recounts in his book Cartas de Marear - impressões de voyagem, caminhos da criação, and in interviews, that after seeing an exhibition of the works of the Czech set designer Josef Svoboda (1920-2002) in 1962, at the Museum of Modern Art in Rio de Janeiro (MAM-RJ), he left the philosophy course on which he was enrolled at the University of Brazil to become a student of that renowned artist, in the Czechoslovak Socialist Republic, between 19.
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