São Paulo Internacional Clown Festival / 6th edition
Get ready for the Palhaçada Geral (General Clownni Festival)!
“I remain just one thing, and one thing only – and that is a clown. It places me on a far higher than any politician”.
(Charlie Chaplin)
“In every song, the clown is a charlatan.”
(Chico Buarque and Edu Lobo)
Parlapatões is currently preparing for the 6th edition of the Palhaçada Geral Festival (São Paulo Internacional Clown Festival). The Festival will be held in the heart of São Paulo, at the Parlapatões group headquarters. As in previous editions, there will be 10 days of programming, featuring shows from different regions of Brazil and international artists.
The Festival is scheduled to take place in May/June 2025. This edition’s theme will be mythology.
The relevance of restorative laughter
Take steps to repair the damage caused by the pain. What is the most appropriate way to address this subject in a humorous manner? This is the challenge we must address. The use of humour can facilitate a shift in perspective on topics that, despite its intentions, humour itself has been used to reinforce prejudices. It has been a common practice among comedians to justify their actions by claiming that a violent act expressing racism, sexism, machismo, homophobia, fascism and other atrocities should be exempt from criticism. This is often accompanied by the slogan “it was just a joke”.
It is not acceptable to reduce a joke to a defence of criminal acts. Humour has the potential to be transformative. Furthermore, there are additional considerations. If humour is employed to support those who are oppressed, to alter perspectives and to convey new insights in a creative manner, it has the potential to be reparative. Primarily, it is an enjoyable activity that provides an opportunity to either heal or confront the source of pain in a way that is no longer tolerated and celebrates a new historical moment.
The field of clowning has been at the forefront of exploring this theme in relation to the public perception of the arts. Female clowns have been at the forefront of initiatives that challenge the prevailing patriarchal norms associated with clowning. Their work has sought to reimagine the archetypal clown figure, situating it in alternative contexts and exploring its capacity for transformation.
The Black movement has been instrumental in shedding light on the historical erasure of icons who played a pivotal role in the development of Brazilian clown art, including the renowned Benjamin de Oliveira and the largely forgotten Eduardo das Neves. However, primarily, resuming the protagonism of the scene and addressing the themes that are of particular importance to him from the perspective of profound enjoyment, which seeks joy without the intention of fostering alienation.
In more recent times, the domain of circus has been invaded by the LGBTQUIA+ movement, which has historically been a bastion of diversity despite the prevailing sexist environment. The increasing prevalence of shows and acts addressing this theme is indicative of a growing convergence among artists in their pursuit of representation and expression within the domain of humour, particularly within the circus arts.
In this contemporary context, the 6th Palhaçada Geral Festival as a unique opportunity to celebrate art, facilitate encounters between clowns, and explore intersections between clowning and other forms of humour. By engaging with street expressions and social issues, we aim to create a transformative and thought-provoking experience. Our intention is to maintain a spirit of joy while advocating for crucial social and political changes.
It is hoped that the art of clowning will prove an effective means of facilitating the repair process.
Hugo Possolo
Artistic Direction
The diversity of clown art forms presented at a festival
The Palhaçada Geral Festival has been designed to provide an overview of the diversity of clowning production in Brazil, with the additional objective of including international guests. The festival is organised by the Parlapatões group and has already been held on five occasions. Previous editions have been held at the Espaço Parlapatões, at Circo Roda, and have also included tarps set up in public places such as the Memorial da América Latina and Praça Roosevelt.
The sixth edition of Palhaçada Geral Festival is scheduled to take place in the first half of 2025. It will feature 10 consecutive days of activities, including the presentation of 10 shows. These will be drawn from a range of sources, including local productions and shows from other Brazilian cities. Additionally, the festival will feature a guest artist from abroad.
Furthermore, three themed cabarets will be held, uniting performers from various groups. One of these cabarets will be directed by a guest artist and will explore themes from Brazilian mythology.
The fourth edition of the clown fashion show is scheduled to take place
– The São Paulo Fashion Clown event will include.
– 18 presentations distributed throughout the programme;
– 2 open workshops for the general public;
– 3 meetings as part of a debate series;
– A magazine with texts and reflections from the debate series, as well as details of the construction processes of the cabaret shows/artistic residencies promoted.
The public has the opportunity to watch shows and participate in debates and workshops with some of the best Brazilian clowns, including those trained in the arena tradition and contemporary ones, who have trained at Circus schools and are active in theatrical performance.
For those involved in theatrical and circus activities, it offers a forum for discussing new aesthetic directions, exploring the viability of artistic and production information, and facilitating an exchange that publicises the activity in the state and establishes national references for the art of clowning.
The five previous editions and their themes
The most recent edition of Palhaçada Geral Festival took place in July 2023. Following a two-year closure, Espaço Parlapatões resumed limited operations.
The fifth edition saw the introduction of themed cabaret shows in honour of black and iconic artists of Brazilian comedy, including the clown Xamêgo, Benjamin de Oliveira, Dudu das Neves and comedian Vera Verão. Furthermore, the programme included the cabaret As Mina Pá, which featured exclusively female clowning, as well as the Varieté dos Encontros cabaret, which showcased jugglers and street acrobats. These acts were integrated into the juggling movement of Circo na Praça, which is based at Roosevelt.
The event spanned ten consecutive days and featured a diverse range of attractions, including Jader Clown (Colombia), João Artigos (Rio de Janeiro), Nêga Luiza (Brasília), and Palhaço Mixuruca (Alagoas). Additionally, the programme included 18 guest shows by lineup artists from the contemporary scene, interspersed with over 20 numbers. It also featured a clown samba circle with feijoada and a parody clown fashion show. The São Paulo Fashion Clown. The event concluded with a special session by Prot(AGÔ)nistas and a party featuring a performance by the band Bolero Freak.
Further meetings of artists from different disciplines took place at Cabarés As Mina Pá, directed by Helena Figueira, and Varieté dos Encontros, directed by Giuliana Soveral and Marina Soveral. These events were the result of significant developments in the circus arts.
The programme included a number of high-profile shows, including Cabeça de Nego with João Artigos (Rio de Janeiro – RJ), Circo Fubanguinho from Trupe Lona Preta, Circo de Só Ele (Juiz de Fora – MG), and Contos de Causos by Doutores da Alegria. The programme included the following shows: Herolino, the Cleaner and The World of Hundertwasser; Planeta Zulpeta, with Clown Zulpeta; Prot(AGÔ)nistas, directed by Ricardo Rodrigues; and Varieté, with Jader Clown (Medelín – Colombia) and VIVA! , Guest acts, clowning and comic drag gave a series of free presentations.
Feijuca da Palhaçada facilitated an encounter between artists and the public in the context of the feijoada and Roda de Samba. The programme also included Bufonaria Express, a show featuring Palhaça Rubra, Parlapatões, Claudio Carneiro and a special appearance by comic drag queens Alexia Twister and Thelores.
Additionally, the entertainment value of the parody of the clown fashion show was considerable. The São Paulo Fashion Clown event will feature the talents of Clown Elisabeth, The Queen; Parlapatões; the Piorô musical band; and 15 additional clown models.
It is essential to provide a comprehensive overview of the previous editions, from the first to the fifth. The initial challenges provided invaluable learning opportunities and laid the foundation for the significant growth of the circus movement in São Paulo, establishing the city as the first and only national reference point for a meeting focused solely on clowning.
The inaugural edition of Palhaçada Geral Festival, held in 2007, saw the participation of eight shows from São Paulo and Rio de Janeiro, including the Teatro de Anônimo group, the organiser of the international clown festival, Anjos do Picadeiro. The event comprised four cabarets featuring performances by The programme included presentations by circus groups and clowns, as well as six reprises of traditional clown acts featuring established artists. There was also a tribute to traditional clowns, featuring Pururuca (from the duo Torresmo and Pururuca), Picoly (Família Sbano) and Picolino (Circo Nerino).
In this edition, the curators emphasised the continued relevance of the traditional clown for those engaged in the contemporary practice of clowning, combining a tribute to the art form with an exploration of the challenges and opportunities presented by the transition from one generation to the next.
In its second edition, Palhaçada Geral Festival concentrated on the relationships that clowns form with the stage space in their performances. It was therefore crucial that the programme included events in a variety of settings, from traditional circus tents to the streets and Italian stage theatres. The presentations took place at Espaço Parlapatões and on the Circo Roda tent, which was set up at the Memorial da América Latina.
The third edition was held entirely at the Cooperativa Paulista de Circo, located in Praça Roosevelt, in front of Espaço Parlapatões. This year, the curators have focused their efforts on a more in-depth exploration of the Circus-Theatre theme. The staged readings of the so-called Comedies, Circus-Theatre texts where the main figure in the dramaturgy is the Clown, were particularly noteworthy. In this regard, established ensembles such as the Sbano family and Circo Guaraciaba presented their work and engaged in discourse with novice groups like Olaria GB, or the seasoned Os Fofos Encenam, who also performed a contemporary interpretation of a traditional text.
The edition’s honoree was Clown Tubinho, representing the third generation of the traditional Circo de Teatro do Tubinho. He showcased four distinct productions from his extensive repertoire. For many who were previously unaware of the existence of circus theatre or who believed it to be a defunct art form, the event generated a significant impact and revealed the continued strength and importance of popular theatre promoted by Brazilian circuses.
In all editions, the curators collaborated with experts on the topic to facilitate debates, lectures, and workshops. These events aimed to elucidate the diverse perspectives on the significance, methodology, and longevity of clowning in its various manifestations. The objective was to substantiate the necessity and appreciation for the multifaceted nature of clowning.
Following the exchange of the Parlapatões production with the 2024 Edinburgh Festival, our objective is to curate shows and circus acts by clowns who were present at FRINGE. To apply, simply send the project proposal and a video of the presentation in full contact@parlapatoes.com.br
Furthermore, groups and artists are encouraged to submit workshop proposals to facilitate an enhanced exchange of ideas. The feasibility of such a proposal is contingent upon the selected artistic proposal.
The registration period will remain open until September 2024. The Parlapatões team will then contact those selected to establish the remuneration and terms of participation.