amilton de azevedo writes about “Carte noire nommée désir”, by Rébecca Chaillon, presented in the 2024 Festival TransAmériques (FTA – Montreal).
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amilton de azevedo writes about “Nigamon/Tunai”, by Émilie Monnet and Waira Nina, presented in the 2024 Festival TransAmériques (FTA – Montreal).
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amilton de azevedo writes about “Eruption – The uprising is not over yet” (2022), by coletivA ocupação (São Paulo, Brazil). Originally posted in portuguese within the context of the archipelago project, with the support of Corpo Rastreado.
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amilton de azevedo writes about “Study nº 1: Death and Life” (2022), by Magiluth Group (Pernambuco, Brazil)
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amilton de azevedo writes about “APES” (2022), by Cia. do Sal (São Paulo, Brazil), monologue with Clayton Nascimento
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amilton de azevedo writes about “Desfazenda – Bury me out of this place” (2021), play-film by O Bonde (São Paulo, Brazil)
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critical review of “Borders” (“Grenzen”) by Cat Smits Company (Netherlands). work presented during the 10th International Festival of Puppetry Schools PUPPETNOPUPPET (LALKANIELALKA) in Bialystok, Poland, on June 2022. this text is written by amilton de azevedo within the context of the Puppet Theater Criticism Workshop offered by the International Association of Theater Critics (IATC).
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