>>>: The influencer 2010 Center of contemporary Culture of Barcelona Catalunya, España

The Influencers is a three day think-tank that tackles the potential of non conventional communication in contemporary society. We are interested in exploring the hybrid zones wherein autonomous experiments and mainstream culture blend and collapse into one another. Projects that stem out of a deeply rooted do-it-yourself attitude, even when they develop into complex, large scale projects.

Since 2004, The Influencers has been gathering a limited but carefully selected number of diverse projects. This 6th installment makes no exception: celebrity pranksters (with a cause), tactical media artists, computer games modders, hi-tech donkeys, extreme bicycling gangs, atomic sculptors, ads' kidnappers, and media transformers will come together for three long evenings to present, discuss, and perform their work. Whether they are art works or life long projects, or just weird ideas one came up with, these practices are fed by a visionary taste for weirdness and desire for social change.

Unlike other festivals, The Influencers has no theme, but if you are looking for threads to string stories together, this time you will encounter at least a couple. First, examples of mind ecologies, life after dumb consumerism, DIY survival strategies after the (brands) feast is over. Second, risky and dangerous narratives. Those risks that you take on when you force physical, aesthetical, legal, and political boundaries of our society, and challenge collective imagination to desire the unthinkable. We want to show that taking risks is possible, never easy, frequently fun, and always very instructive.

Since its creation in 1992, this informal network organizes unclassifiable events whose protagonists are "mutant" bicycles and their visionary riders that challenge each other in tournaments that are sometimes violent, but always politically incorrect.

In this contemporary, antiauthoritarian version of medieval jousts or the Hell's Angels choppers of the 60s and 70s, we can see an autonomous subcultural form within the contaminated modern metropolis.

The chapters that make up the club across North America, from Minneapolis to New York, Texas to New Orleans, with their customized bike-battles where there is no simple "audience", only participants, have become unmissable events for the members of this big family

In collaboration with: Felipe McWallace

About Me

Nacido en 1980 en la ciudad del Río de Janeiro Brasil. Licenciado 1998 a 2003 en Maketing y Publicidad.
* Estudio: Arte Contemporaneo, Sociologia, Dirección Cinematogràfica, Fotografia Contemporànea, Dirección de Actores, Realización y Produción Audiovisual en la Universidade Estácio de Sá do Rio de Janeiro.

Formación profesional de Interpretación en Arte Dramatico
*O Tablado Rio de Janeiro.

Casting para la publicidad, videoclips, largometrajes, cortometrajes, catálogos de moda "H magazine, Roket magazine, Freek Milan"

Tengo más de 5 años de experiencia, la investigación y el descubrimiento de los más diversos personajes y tipos específicos para cada producción.

El desarrollo de un trabajo de "StreetCasting" cada proyecto específico.

Los principales productores en Brasil: Zohar Cinema, Academia de filmes, YesFilmes, Cinematografico, TvZero, O2Films...

Diciembre 2009
DRAPART . CCCB

Relaciones Públicas |Evento|

Enero 2008 . Noviembre 2009

Wild Side Party by Malboro . Barcelona
"Carlos Diez, Bread & Butter"
Productora La despensa . Madrid

* Casting performing arts

It sometimes involves a series of auditions before a casting panel, composed of individuals such as the producer director and/or chorographer In the early stages of the process, candidate performers often may present prepared audition pieces such as monologuesor songs. Later stages may involve groups of candidates attempting material from the work under consideration in various combinations; the casting panel considers both the talent of the individual actors and the chemistry of their combination.There are exceptions to this. When a Casting director is working on a Print Advertising or TV Commercial casting project, then the talent comes in and is photographed or put on video with no one else in the casting session. The day's work of all the talent is then viewed on a website by the clients. A choice can occur that day or the next day with the production being only days away. There is more of this type of casting (commercial/print) going on than any other type.Depending on the prestige of the role, casting calls may go out to the public at large (typical for community theatre), to professional and semi-professional local actors (for supporting roles in teatre and film) or to specifically selected actors (for leading roles, especially in films).In the production of film and television, a similar process is followed. However, especially for major productions, the process of selecting candidates for sometimes hundreds of parts and possibly thousands of extras may often require specialised staff; while the last word remains with the people in artistic and production charge, a Casting director (and/or Casting Assistant, Casting Associate) may be in charge of most of the daily work involved in this recruiting process during pre-production ; in addition the "CD" may also remain as liaison between director, actors and their agents once the parts have been cast.

(...) fashion, eidos, archē, telos, energeia, ousia |essence, existence, substance, subject|

(...) the entire history of the concept of structure, before the rupture of which we are speaking, must be thought of as a series of substitutions of centre for centre, as a linked chain of determinations of the centre. Successively, and in a regulated fashion, the centre receives different forms or names. The history of metaphysics, like the history of the West, is the history of these metaphors and metonymies. Its matrix [...] is the determination of Being as presence in all senses of this word. It could be shown that all the names related to fundamentals, to principles, or to the centre have always designated an invariable presence – eidos, archē, telos, energeia, ousia (essence, existence, substance, subject), alētheia, transcendentality, consciousness, God, man, and so forth.

Improvisational Teatre

Improvisational theatre allows an interactive relationship with the audience. Improv groups frequently solicit suggestions from the audience as a source of inspiration, a way of getting the audience involved, and as a means of proving that the performance is not scripted. That charge is sometimes aimed at the masters of the art, whose performances can seem so detailed that viewers may suspect the scenes were planned.
In order for an improvised scene to be successful, the actors involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. With each spoken word or action in the scene, an actor makes an offer, meaning that he or she defines some element of the reality of the scene. This might include giving another character a name, identifying a relationship, location, or using mime to define the physical environment. These activities are also known as endowment. It is the responsibility of the other actors to accept the offers that their fellow performers make; to not do so is known as blocking, negation, or denial, which usually prevents the scene from developing
Because improv actors may be required to play a variety of roles without preparation, they need to be able to construct characters quickly with physicality, gestures, accents, voice changes, or other techniques as demanded by the situation. The actor may be called upon to play a character of a different age or sex. Character motivations are an important part of successful improv scenes, and improv actors must therefore attempt to act according to the objectives that they believe their character seeks.