pigs opera


Pigs Opera

The pig reproduces concepts usually antagonistic in the history of humanity: money and poverty, celebration and revulsion, luck and avidity, but always with a powerful analogy in which the human being recognizes itself. Men hide behind the pigs. And gastronomy hides behind beauty. Often times we understand ourselves as pigs – for all the great complex and paradoxical symbology that exist in us and in the metaphors which history has provided to swine, which are also banished for some palates and for many different reasons.
In this Opera of the Pigs, Simone Mattar creates a recitation that fits into the listener’s requirements. If serious or funny, if long or short, if reflexive or prosaic, all that is left is the willingness to listen and choose the moment. In the 21st century the opera conjectures potential to add artistic manifestations such as visual arts, electronic interventions and Simone’s concept of gastroperformance.
Maybe the opera is the most improbable of arts. In this expression, also called lyrical theatre, everything is enchanted. Its artistic format celebrates a unique aesthetics: plasticity, sound, narrative, theatre and music live together, intertwined in stories and real characters, mythical and metaphorical so that the contemplator examines the most absurd and extravagant of the world.
Simone Mattar reveals in 3 acts that the pig will continue to inhabit the most secret dreams of the cooks and poets and that, despite all the artificiality of the opera, it will keep on being one of the most spectacular ways of providing
Aurea Vieira

Concept

Opera of the pigs reflects upon greed and pride of minorities to the detriment of humanity.
The project proposes a relationship between pigs, humans and the viewer, seen from different perspectives; and includes symbolical particularities that the animal represents throughout history.
In this way, the project relates the end of the 20th and beginning of the 21st centuries with the current times, through the feelings invoked in the following works: “Animal Farm” from George Owell, “Ultimatum” from Alvaro de Campos and “Ballad for consent to this world” from Bertolt Brecht.
It proposes different points of view regarding the pig. In one side the glutton and on the other side the symbol of the gastronomical culture represented on the feijoada. It reflects on the dissolution of limits, whether they are territorial, or the limits of the body; and also reflect on the loss of control.
It proposes in a naïve form and at the same time provocative the triumph of art and culture beyond the “forces of evil”.

Technical team

Artistic conception:

Simone Mattar
Artistic collaboration:

Food of War Art Collective
Omar Castañeda
Quintina Valero

Musical conception:
Lyrics: Simone Mattar
Melody: Renata Mattar
Musical arrangement: Gustavo Souza
Voices: Raquel Paulin e Renata Mattar

Format:

Duration of the Project: 6 days
Number of sessions: 2 sessions per day, so 12 sessions in total.
Audience: 30 people per session. The performance happens in 3 acts and 4 different environments
Duration of each session: 60 minutes.

Environments

First room – Complete Feijoada
The participants walk in an empty room. Six pig heads are displayed in circle and the participants can sit in chairs spread around the room.
The pigs start to sing through projections executed by a technique called video mapping.
At the end the performers walk in the room and invite the participants to taste the feijoada.
The pigs’ heads are molded in feijoada.

The participants are invited to follow on to the second room.

Second room – White Feijoada
A table  is displayed in the dark room. On the table there are pig pieces used in the feijoada.
They are identical and the audience does not notice the difference. They are ears, tails, sausages, etc.
The lighting is made by red candles spread among the “pieces of feijoada”.
Part of them is made of foam and part of them is made of food.
The pieces are made with different flavors – sweet and savory – like: mortadella mousse, white chocolate with bacon, white chocolate with orange and coconut mousse.

Third room – Competition

The room is composed only with one video screen and a projector.
The video shows candidates from a famous competition which happens in many American states: a competition for the best pig caller. A lyrical singer competes with animal screams and the Opera of the pigs is topped off in this last part of the performance.
The reality is served raw to the audience, with a tone of dodge and delirium.
In the room there are pig sounds and performers dressed with pig masks, making the reception and offering feijoada pieces to the audience.

Participation of the Food of War Art Collective

Food of War is a collective of art in London, composed by 5 artists from all around the world, which explores the relationship between food and war, under the principles of its Manifesto.
The movement explores how the armed conflicts around the world directly affect the way we eat; how there is relationship between violence and food, and how each of them influence one another.

Food of War collaborators
Omar Castañeda
Quintina Valero
Hernan Barros

Lyrics of the song

Opera of the pigs

I pig embrace the globe
I feed the body
I embrace the people and eat everything and from everything.
And everyone.
Everything, everything, everything
Tongues, loin and feet
Black bodies, white bodies
Skin color, dirty skin, pure skin

Dirt does not go on the table.
Only beauty!
Only beauty

I fat pig get fatter
From low and high eating
From the tin, garbage, cream, of the cream
Brushstroke, texture, gourmet, reduction
Family, property and tradition

Dirt does not go on the table.
Only beauty!
Only beauty

I eat in every language
I don’t have contours
Sacking, sniffing
I get fat, I care
Sacking, sniffing
I deal with jewelry, bribe, car
Game, rubbish
I get fat from rape and religion
I explore oil, I use cannon.
I play with nations and ethnicities
Sparkle, breeze, sweets
Sweeeeet money

Pigs, ears and tails
Like money, like grenade, grain

Braided and intertwined tails
Trapped in public and private spaces.
Public rubbish.

In fat coma, I get fat like
I lose shape, I lose the norm,
In fat coma, I get fat as
Eat, eat, like in a coma
I have fear
Have fear
You have fear, youhavefear
I have fear, have fear,
Youhavefear, youhavefear
I have fear, have fear

I will explode!
It will explode!
It will explode!

Out of the walls, great wall
Put some water in the cauldron
Come see the broth boil
Put some flour and water on the beans
Pepper to spice up the mess

There are feet, and ears, and ribs and tails flying by
Oranges fall, cabbage and cracknel
Everything mixed up
The feijoada will enter the meal
Of everyone

Dirt does not go on the table.
Only beauty!
Only beauty

Pigs opera experience