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From CBTIJ/ASSITEJ Brasil, we have a text by Cleiton Echeveste (President) and a free performance on Youtube.

Writing plays for children and young people: the construction of sheltering and belonging spaces
This text was presented at the seminar “Dramaturgy for childhood: reflections on specificities in a plural universe”, during the 1st Qorpo-Santo Dramaturgy Biennial
1, held on November 27, 2020, in Triunfo, state of Rio Grande do Sul, Brazil, by virtual platform. Read the article here

BIBOBIDEBIBIQUÉTI is a digital theater work for babies, carried out in a situation of social isolation, over one month. The filming took place inside the apartment of the artists Viviane Juguero, Éder Rosa, and Henrique Rosa Juguero, in Porto Alegre, Brasil, due to the COVID-19 pandemic. The assembly was made possible through an Emergency Aid offered by the City of Porto Alegre. Watch the performance on Youtube here

BIBOBIDEBIBIQUÉTI starts with a welcoming visual and sound ambiance. On the scene, the moon shines amid a starry night. There is a shower of shooting stars. One of them penetrates the moon, and it becomes pregnant. Bibobidebibiquéti is born, a being that, in its trajectory, experiences different situations. After recognizing and dialoguing with the moon, Bibobidebibiquéti descends to the clouds, where little balls teach him to move in different ways. The moon goes to him to play and turns into a balance ball. Then it returns to its place, and Bibobidebibiquéti goes back up on the moon, where he experiences circus movements. Back in the clouds, Bibobidebibiquéti discovers love by relating to a bright spot. He pregnants and floats through space. His offspring is born, made up of three balls. Their relationship is demonstrated in juggling juggles to take care of the babies and other movements as a fun dance. Then the balls grow, become different beings, and go. Bibobidebibiquéti ages, he returns to the moon, and his cycle comes to an end.

Throughout the scenes, irreverent non-verbal vowel sounds add up and create different sound ambiances that, in the end, build the theme song, along with which the joyful dance of memory takes place. This repetition is essential in the dialogue with babies and results in the satisfaction of recognizing known elements and the resumption and reformulation of the affective experience related to them.

In the understanding of radical dramaturgy, elaborated by the author of this work, Viviane Juguero, based on Paulo Freire’s notion of radicality, among other studies, art is one of the essential roots for the composition of the emotions that guide the actions, values ​​, and habits of each person in society. In this way, a significant democratic and diverse social transformation requires access to cultural models that provide different perceptions and subliminal affective ties related to today’s urgent issues, such as gender, race, social and environmental relations. In early childhood, children are just building their references for an affective-rational relationship with the world. Thus, in the art for children, the naturalization of respect for diversity is much more effective than the reproduction of rhetorical discourses that do not dialogue with the pluriperceptivity present in what the author of this play understands as a children’s playful logic.


Dramaturgy and direction: Viviane Juguero

Cast: Éder Rosa

Theme song: Viviane Juguero

Soundtrack: Everton Rodrigues

Song voices: Viviane Juguero and Everton Rodrigues

Choreographies, scenography, clothing, props, and scenotechnic: Éder Rosa

Audiovisual assistance: Pedro de Lima Marques

Editing: Viviane Juguero, Henrique Rosa Juguero e Éder Rosa

Title lettering creation: Henrique Rosa Juguero

Studio: Family apartment room (3,70m X 3,15m / 2,62m high)

Recorded on a cell phone.

Production: Bando de Brincantes

Associated to CBTIJ/ASSITEJ Brasil

Support: Bactéria Filmes