top of page

 gauchos on stage 

In your  eighth edition, the project  Gauchos on Stage  has the sponsorship of  Braskem  and honors the actress, researcher and theatrical director  Tânia Farias, great personality of the performing arts in Rio Grande do Sul and actor of the tribe  Hi We are here Traveiz  for more than two decades. Entitled  Theater is a priesthood, the book is researched and authored by the journalist and theater critic  Fábio Prikladnicki, PhD in Comparative Literature from UFRGS, reporter and columnist for the newspaper Zero Hora.

The launch of the work took place on March 28, at the Municipal Culture Center, in Porto Alegre, in the same week  in which the  40th anniversary of the Ói Nóis Aqui Traveiz group. The event, full of guests and friends, had  chat between the author and the honoree  mediated by  Fernando Zugno, General Coordinator of Porto Alegre em Cena, followed by a long  autograph session. Tânia Farias also showed, for the first time, her musical essay, which is part of the research for the creation of the work  Violeta Parra – an actuator!, in partnership with the musician  Mario Falcon.

The literary novelty also holds a great surprise for readers: the publication of part of the artist's poetic work, for the first time in a book, revealed through 15 poems reproduced in the volume.  theater is a priesthood  still has presentation of  Luciano Alabarse, Secretary of Culture of Porto Alegre; preface signed by  Paulo Flores, actor and founder of the Ói Nóis Aqui Traveiz group; unpublished essay by the critic  Valmir Santos; in addition to texts from  Martha Haas  (actuator of Ói Nóis),  Dinho Lima Flower  (from Cia. do Tijolo, from São Paulo) and  Fernando Yamamoto  (from Shakespeare's group Clowns).

Highlighting the access to content in a free, democratic, accessible and decentralized way, the work in addition to being  distributed at no cost to the public  interested is also  available to  download here  on the website (click to download ). As well as,  100 copies will be sent to public schools in the city, located in outlying areas of the city and participating in audience training projects  Inclusion on Scene  and  Saturday on Scene, performed by  Porto Alegre on stage  and supported by  Braskem.



The Gauchos em Cena project is a collection of books that maps the history of performing arts in Rio Grande do Sul, through the biographical record of extremely representative artists for the state's cultural class, with an annual publication produced by the international performing arts festival Porto Alegre On the scene. The proposal is based on the perception that a book is an essential document for the record, memory, life and history of a region and its artistic universe. An important material for research by cultural technicians, artists, teachers and students from all over the country, a work to be part of the collection of public libraries and educational institutions dedicated to the study of art.

Braskem has sponsored Porto Alegre em Cena for over 12 years, decisively contributing to the decentralization of the festival's activities and expanding its reach. In addition to the Braskem on Stage Award, held throughout this period, and the Inclusion on Stage, a project that allows students from the periphery to watch local theater plays with two editions already held, in 2018, the company also takes on the sponsorship of the Gauchos in Scene.



  by Fabio Prikladnicki 

I have been following the work of Tânia Farias for a little over a decade, which represents about half of her career in the Ói Nóis Aqui Traveiz Actuators Tribe. His more than twenty years in the group, likewise, add up to more or less half of the history of Ói Nóis, which will turn 40 in 2018. This curious mathematical coincidence surrounds the eighth volume of the Gauchos em Cena series.

Although the bibliography about the group – one of the most outstanding in Brazilian theater – already has a significant number of books, published by the label Ói Nóis na Memória, this is the first that addresses Tânia's professional and personal path. Throughout the pages of the interview that constitutes her core, it becomes clear that, for her, life and theater are inseparable. The same can be said about your relationship with the group. When talking about Tânia, we are talking about Ói Nóis, as researcher Vivian Martínez Tabares says in a text included in the volume.

The book approaches his career, recalling some of the most remarkable shows, but mainly registers a moment in his life. This moment is one of maturity as an actress and a woman, but also one of crisis, as she explains in the interview. Tânia not only tells the backstage of her creations at Ói Nóis, but also exposes her worldview on subjects such as politics, ethics, feminism, religion and spirituality.

Even viewers who have been following it for a long time will discover new dimensions. Here is a true theater thinker, whose opinions dare to go against the tide of expectations. But for her, theory only makes sense in practice, that is, in the day-to-day of the tireless work of the actor – in Ói Nóis' vocabulary, this word designates the fusion of the actor with the activist.


With a preface by the longtime partner and master, Paulo Flores, as well as reflective texts by his peers in the theater and a critical essay by Valmir Santos, the volume also includes poems written by Tânia, published here for the first time in a book. It will be a revelation for the significant portion of the public that had not yet had access to this aspect of his production.

Unlike books that honor artists at the end of their careers or whose heyday was in the past, this one records an actress in full swing: restless and discontented, Tânia always looks beyond. Those interested in theatrical creation will understand how it constituted his unique acting technique and helped shape the poetry of Ói Nóis with his multiple talents – among them, the elaboration of costumes. Those who do not wish to delve into the bowels of the processes but are interested in things of art and life will still have plenty of material at their disposal in Tânia's sharp speech.

At the end of the reading, I hope, it will be impossible not to ask avidly about the next steps of this exemplary actor. The feeling is that maturity, a phase that only comes with a lot of sweat and dedication, is just beginning for her.

previous publications

1st Sandra Dani -  Memories of a great actress, by Hélio Barcellos

2nd Zé Adão Barbosa -  Driven by passion, by Rodrigo Monteiro

3rd Ida Celina -  Story(s) in me, by Fernando Zugno

4th Carlos Cunha Filho  - First-person talent, by Renato Mendonça
5th Deborah Finocchiaro -
  THE  transforming art, by Luiz Gonzaga Lopes

6th Mauro Soares -  THE  light on the protagonist, by Roger Lerina

7th Luiz Paulo Vasconcellos -  To the master, with affection, by Zeca Kiechaloski

bottom of page