Oficina Theater is located at 520 Jaceguay Street in Sao Paulo, Brazil. The site of Oficina Theater was founded in 1958 with a group students deciding to lease the Novos Comediantes Theater from a spiritualist group. From here a restoration was carried out to make the space conform, the stage was situated between grandstand like seating. In 1966 a fire completely destroyed the theater, a year later the reconstruction started to configure a new one in its place. Housing great plays for several years to come.
The Oficina theatre group in 1981 decided to purchase the property and restore it, with Lina Bo Bardi leading the design with her modernistic ideas of formal simplicity, the purity of elements, less is more, constructive rationalism and asceticism. The concept development involved a passage running through the building like a street from Jaceguay Street to the open area at the opposite end. The proposed design was a totally transparent environment as an “all space is scenic”, and an integration into this unified natural space an introduction of technological resources to create a “electronic yard”. Throughout the design process cultural references were made such as openings were created in the brick walls reminding one of canon holes which Lina Bo Bardi called the “holes of the Spanish war”. (Elito, 1999)
Edson Elito was part of the design team accountable for the abandonment of restoring and instead demolishing the existing rooms to be left with just the external shell. Ze Celso invented the sloping stage that overcame the 3m level difference from front to back. "Many nights, scenes are given as raw meat to small anthropophagic crowds, producing views of this collective work of art that sometimes is what happens at the Oficina Theater. Then past signs and future keys to the recent history of Brazil are read, tattooed as a programmed cavern." (Elito, 1999)
“Actors and actresses, technicians, the public, as well as all the equipment and objects, whether scenery or not, all form part of the show, blending or making a counterpoint and there is no way to hide any of them. All participate in the scene.” (Elito, 1999)
Lina Bo Bardi
An architect and polymath who left a largely significant impact on the world.
Born Achillina Bo on December 5, 1914 in Rome, Italy and died March 20, 1992 in São Paulo. She was an active member in all areas of culture, having engaged in various projects in theater, architecture, cinema and arts in Brazil and foreign countries. In addition to her work as an architect, Bo Bardi was an involved furniture and jewels designer, artist, scenery and wardrobe producer, organizer and curator of many exhibits.
Linda Bo Bardi had a commitment to the non-hierarchical, non-linear approach to space and time in her work, she worked with "routes, transitional spaces, juxtapositions of scale, materials and found objects, and a fusion of plant life with built form, all become very important - drawing people around a building as if in a sensual dance, engaging the whole body and all its senses". (De Oliveira, 2006)
References:
Elito, E. (1999). Lina Bo Bardi: Teatro Officina, Oficina Theater. Portugal: Lisboa.
http://www.gendersite.org/pages/a_female_role_model_from_brasil_lina_bo_bardi_architect.html
http://www.institutobardi.com
http://teatroficina.uol.com.br/posts/251
http://www.google.co.nz/imgres?imgurl=http://img.estadao.com
http://www.cooperativadeteatro.com.br/2010/?p=965
http://www1.folha.uol.com.br/ilustrada/756179-iphan-vota-hoje-tombamento-do-teatro-oficina-em-sao-paulo.shtml
http://afinsophia.wordpress.com/category/arte/
http://oglobo.globo.com/cultura/mat/2008/09/25/em_os_bandidos_oficina_transforma_sturm_und_drang_em_estrume_und_mangue_-548405644.asp
http://www.urbipedia.org/index.php/Lina_Bo_Bardi
http://www.archinect.com/forum/threads.php?id=63183_2300_42_0
http://www.dwell.com/slideshows/lina-bo-bardi-profile.html?slide=12&c=y&paused=true
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