project image
Maria Buzanovsky

first performed on November 17, 2013
outside of the Paraiso metro station, São Paulo, Brazil
performed 15 times in 2013


Raquel Aguilera, Nwando Ebizie

Rio de Janeiro, Brazil / London, UK /


Where are the boundaries? What laws and behaviors govern the territory that you have and that you frequent? How would the world be if we no longer obeyed the notions of territory? If we were able to move freely across borders to a chosen territory, just like capital, trade, telecommunications and pollution? And what effect would this have on our own concepts of territory and personal space?

“Entre Territórios—Composição Urbana (Between Territories—Urban Composition)” is an intimate and interactive performance that allows the audience to reflect on space, belonging and conviviality.

The participant is guided through the cityscape by a mobile phone. It contains an original soundtrack, playful tasks and issues that lead to decisions expressed in simple physical actions based on socio-political perspectives on territories and boundaries at different scales. It is an invitation to experience a journey that will take you to meet with the performer installed in an urban area, e.g. a zebra crossing.

The meeting provides a responsive choreography in which the participant becomes a witness or composes a duet that may be “invisible” to people in transit through the city and go unnoticed; a brief, intimate moment shared between territories.

One of the relevant procedures in this project is, following the principles of the Situationists, the use of drifts that, combined with the use of the performative programs, invite the audience to experience a state produced by the lack of direction, such as a person who gets lost while walking in a city on their first visit. This state can activate a certain strangeness and establish another body-space-time relationship.

“Entre Territórios—Composição Urbana” is also inspired by Joshua Sofaer and his work “The Many Headed Monster.” It is exactly through the combination of performative programs and drifts that the dramaturgy of participation is conducted through the emotions and behaviors experienced by the audience in the urban landscape .