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  • How It Ends - DeVotchKa
  • You Love Me - DeVotchKa
  • Such a Lovely Thing - DeVotchKa
  • Twenty Six Temptations - DeVotchKa
  • 06 Charlotte Mittnacht -
  • Serelepe e Pitutinha - Tim Rescala
  • Crônica da Cidade - Tim Rescala
  • Brincando de Velho Oeste - Tim Rescala
  • Felicidade na cidade - Tim Rescala
  • Abertura Meu Pedacinho de Chão - Tim Rescala

Synopsis

Alongside her best friend Pituca, daughter of the mighty Colonel Epaminondas Napoleão and the astoundingly beautiful Madame Catarina, Serelepe, a clever boy with no father or mother, recounts the happenings of the fantastic village of Santa Fe with the allure of those who believe in a better world, and, in this meanwhile, reaffirms values ​​that are usually lost when we reach adulthood.
The friendship between Lepe, the abandoned boy, and Pituquinha, the rich girl, is frowned by Colonel Epaminondas, who wants to see his daughter away from her little friend. Owner of most of the lands of Santa Fe, Epaminondas calls the shot ad if he were the city’s owner, aided by his henchman, Zelão.
His greatest political disaffection is the generous and hardworking Pedro Falcão, who elected his political protégé, the Mayor of Antas, and donated part of his land to build the store of Mr. Giacomo, the church of Padre Santo and the health center of Doctor Renato Married to the dedicated Dona Tereza and father of Gina, a young girl raised as a boy who knows how to work the fields and shoot much better than many men in town, Pedro Falcão further deepens the political differences with Colonel Epaminondas when he decides to donate
land for the city hall to build the first school of Santa Fe.
The arrival of Professor Juliana, a polite young woman in the delicate manners and looks of a pop princess, tears the village in two sides. She poses an unexpected challenge for Epaminondas: love. Impacted by the sight of the most beautiful woman who ever set foot in Santa Fe, Zelão, the illiterate henchman feared for overseeing and harassing the farm workers, falls in love with Professor Juliana.
In this modern fairy tale, in which Zelão’s love for Juliana and the friendship between Lepe and Pituquinha outline the story, themes of social relevance were the backdrop for the plot’s unfolding. Political corruption, illiteracy, underappreciation of teachers, strike, electoral maneuvers, labor laws, and the subordinate position of women in society underline the chapters, showing that this 2014 version of Meu Pedacinho de Chão, original 1971 novel, draws inspiration from contemporary Brazil which updates all the codes of the rural
universe.

Director’s Vision

By Luiz Fernando Carvalho (2013)

As I read Benedito Ruy Barbosa’s text, I realized how much the author worked with simple though very mythical dramatic elements, bringing the characters closer to well-defined archetypes. In a talk, Benedito proposed to me the universe that embraces the story as if it were timeless.
Timeless is a very undefined set of affects, times and spaces, but either way making up an aesthetic whole. On a sudden, the memory issue just came to mind, which is one of the keys of Benedito’s work. Nonetheless, my realization was devoid of a representation concerning history, or dates. If it were so, a mere soap opera of the time would be under development. Timelessness crosses through times, it gathers impressions and shapes up the past, present and future, as well as imagination. Timelessness is the fruit of our imagination. But in the case of Meu Pedacinho de Chão, there is a special ingredient: childhood.
Serelepe is with a witness to the resistance of poetry and memory. This implies that the atmosphere is lyrical, fancied by a boy’s playful vision with fresh light and color, but, on the other hand, as with fairy tales, this boy is an orphan. This sign in the soul of the character already brings us to a more classic and common narrative in soap operas. In a certain way, because Serelepe’s temper is as bright as that of a true warrior, he escapes the commonplace of children in contemporary TV drama. He is a spark no one is able to grasp. A fable hero that contaminates the entire microcosm where the story takes place. When I imagined the village where the soap opera takes place, I could feel that everything there is that way because it is being filtered and concocted through the eyes of Serelepe’s childhood. All a big toy for Serelepe.

Cast Preparation

The casting of the actors of Meu Pedacinho de Chão was based on regional diversity. There are actors from Rio-São Paulo circuit, but also people from the States of Rio Grande do Sul, Pernambuco and Minas Gerais, in a melting pot that also represents the people who inhabit the fantastic village Santa Fe.

The blend can also be seen by the ensemble of renowned actors, such as Antonio Fagundes and Osmar Prado, and other ones unknown to the soap opera viewers, such as Teuda Bara and Fernando Sampaio. Director Luiz Fernando Carvalho, in the lineup, also sought to deconstruct the established image of actors labeled as heartthrobs and muses of soap operas, such as Rodrigo Lombardi and Juliana Paes. By changing things a little, Luiz Fernando Carvalho encouraged the soap opera’s cast to undertake creative, innovative, unexpected ways, devoid of naturalistic acting, which is an old friend in Brazilian soap operas.

“Filled with courage to get rid of old models, Juliana Paes embodies a Madam Catherine of operetta, strong woman, full of lust, and existential conflicts. But her performance, fresh and many-hued, is set to both move to tears and crack a smile on the viewers,” describes the director in the introduction of the soap opera to the press. “The same should be said about Rodrigo Lombardi, who got rid of the heartthrob stigma and ventured deep to play Pedro Falcão.

Cast Preparation

A escalação dos intérpretes de Meu Pedacinho de Chão teve como uma de suas bases a diversidade regional. Há atores do eixo Rio-São Paulo, mas também gaúchos, pernambucanos e mineiros, numa miscigenação que também representa o povo que habita a fantástica vila Santa Fé.

A mistura também apareceu na reunião de nomes consagrados, como Antonio Fagundes e Osmar Prado, e outros desconhecidos do público das novelas, como Teuda Bara e Fernando Sampaio. O diretor Luiz Fernando Carvalho, na escalação, ainda buscou desconstruir a imagem consolidada de atores rotulados de galãs e musas das novelas como Rodrigo Lombardi e Juliana Paes. Embaralhando estas cartas, Luiz Fernando Carvalho estimulou o elenco da novela a se apresentar de maneira criativa, nova, despida dos rótulos que os cercavam e da interpretação naturalista, recorrente nas novelas brasileiras.

“Cheia de coragem para se livrar de antigos modelos, Juliana Paes encarna uma Madame Catarina de opereta, mulher forte, cheia de volúpia e conflitos existenciais. Mas sua atuação, repleta de frescor e nuances, emociona e faz sorrir a um só tempo”, descreve o diretor no texto de apresentação da novela à imprensa. “O mesmo devo dizer de Rodrigo Lombardi, que se despojou do estigma de galã e se aventurou com riqueza de detalhes em seu Pedro Falcão.

O processo de preparação do elenco foi desenvolvido a partir da linguagem que o diretor estava desenhando para a narrativa. Durante cerca de quatro meses os atores se reuniram diariamente por oito horas na sala de ensaios do galpão, localizada em frente ao ateliê que soma os departamentos de figurino, cenografia, artes e animação. Ali, estudaram e mergulharam no universo do Vaudeville, da Commedia Dell’Arte, da Ópera, das histórias em quadrinhos, dos contos de fadas, do circo e do Bang Bang.

“Montamos um painel de referências e técnicas para que os atores pudessem se servir deste vocabulário na composição dos personagens”, revela o preparador Antônio Karnewale.

Conduzidos pela coreógrafa Lúcia Cordeiro, os atores fizeram exercícios corporais para despertarem uma consciência física e sensorial. A partir de então,  participaram de oficinas de máscaras expressivas da Commedia Dell’Arte com Tiche Vianna. Conduzida por Renata Soffredini, a prosódia caipira propôs um sotaque inventado e descolado do real.

Diversão e liberdade foram conceitos essenciais trabalhados pelo diretor e pelos preparadores de elenco. A ideia era que os atores tivessem como norte a ideia de que tudo deveria ser inventado.

Em seguida, desenvolveram um trabalho de preparação física e modelagem do corpo na sala de ensaios com o personal trainer Felipe Simões. Para interpretar a “mulher-macho” Gina, Paula Barbosa precisou ganhar formas mais definidas e masculinizadas. Irandhir Santos, que fez Zelão, trabalhou com foco na hipertrofia muscular para moldar seu herói trágico com postura de Playmobil e andar de cowboy de desenho animado.

 

Depoimentos dos Atores:

Irandhir Santos: “Bem no início de tudo, fizemos um passeio pela cidade de Santa Fé, que ainda estava sendo erguida, e já nesse passeio, tive a certeza de que seria algo especial e diferente. Quando li as primeiras coisas do Zelão e ouvi o Luiz Fernando Carvalho falar desse personagem, a sensação que tive é que eu deveria correr atrás da minha criança. E o Luiz Fernando disse: ‘Mas, para isso, teremos um espaço de ensaio aqui no galpão e vamos desenvolver um método, uma linguagem para todo o conjunto.’ E eu senti que tinha todo o aparato necessário para fazer este mergulho. Todos os dias íamos para lá, onde havia todo esse ritual: um espaço físico e emocional onde estavam também todos os meus colegas. Foi na busca dessa criança e das memórias que comecei a entender os primeiros traços do personagem. Vi que ele deveria vir de uma brincadeira. Mandei trazer da minha cidade (Limoeiro, no interior de Pernambuco) todos os meus bonecos da infância que eu guardara e que cabiam na palma da mão. Comecei a observá-los e a mexer neles e vi que o que me fascinava eram suas articulações. A partir disso fui desenhando o eixo do corpo do Zelão. Luiz Fernando e seus colaboradores me pediram também para relacionar o personagem a um animal, e pensei no cavalo pelas características de porte, força e elegância e, assim, chegamos à crina e àquele cabelo que lhe escondia metade do rosto na primeira fase do personagem, que se revelaria ao longo da novela num descortinar movido pela transformação a partir do amor em forma de uma mulher de cabelo rosa. Esta preparação dos atores foi o circo armado pelo Luiz Fernando para que a gente pudesse criar com liberdade. Esses dois primeiros meses foram tão essenciais para o elenco que reverberaram até o fim da novela, num trabalho de composição e criação contínuo.”

Osmar Prado: “Eu comecei na televisão quando ela era ao vivo. Fui formado por uma TV artesanal, quase teatral, em que era preciso estudar muito bem o texto e o diretor ensaiava cada personagem. Com a chegada do videotape e com a industrialização da teledramaturgia, as coisas foram se transformando e, de repente, a interpretação ficou em segundo plano em detrimento da imagem e se criou uma encruzilhada na qual se tem a impressão de que o ator não é mais tão necessário, qualquer um pode ocupar seu espaço numa novela. O Luiz Fernando Carvalho tem, nesta novela, um grande trabalho de resistência e inovação ao valorizar a palavra, o texto do Benedito Ruy Barbosa, fazendo com que o ator seja mais exigido e o público acompanhe este movimento.”

 

Antonio Fagundes: “O Luiz Fernando Carvalho tem não só o controle de todas as áreas da novela, mas também o domínio intelectual e do resultado final que ele pretende alcançar. Ele traz aos atores informações e referências que facilitam o resultado. Além disso, o fato de o Benedito Ruy Barbosa ter escrito uma novela com poucos personagens fez com que estes atores fossem escolhidos a dedo e com que todos pudessem contribuir de uma forma clara para a narrativa da novela. O modelo com poucos personagens é um caminho muito interessante de voltar às origens, mostrando que não é preciso mais de vinte atores para contar bem uma boa história. Além disso, o Luiz Fernando tinha nas mãos no início de tudo todos os capítulos escritos pelo Benedito. Tudo pronto. Mais uma vez o Benedito mostra que este também pode ser, sim, um caminho para os autores.”

Juliana Paes: “Quando me ligaram falando que o Luiz Fernando Carvalho queria me conhecer (para falar sobre Meu Pedacinho de Chão), o meu segundo filho estava com quatro meses e eu estava totalmente fora de forma, uma verdadeira polenta. Mas fui encontrá-lo. E disse a ele que ele devia me achar uma vedete, mas que eu não era nada daquilo mas, sim, uma atriz disponível e sem medo de me jogar. E ele respondeu: ‘Juliana, esqueça tudo o que você já fez porque vamos trabalhar algo novo.’ Eu gosto muito da preparação e, nesta novela, ela foi muito intensa. Trabalhávamos oito horas por dia, com exercícios para o corpo, dança, informações sobre o universo do circo, o mundo caipira e debates. Isso não é nada comum e fez com que o elenco ficasse coeso porque nós todos estávamos nesta aflição em busca de inventarmos cada personagem. Eu me sentia num labirinto, e a cada curva, o Luiz Fernando estava lá nos dando a mão, o seu olhar, até que um dia encontrei a Catarina.”

Videos

Soundtrack

The soundtrack of Meu Pedacinho de Chão was released on two CDs, one with Professor Juliana on the cover, featuring 14 songs by the American band DeVotchKa, specially invited by the director Luiz Fernando Carvalho. The songs include How It Ends and I Cried Like a Silly Boy, Gina’s theme. Little known in Brazil, the group resorts to several genres, such as bolero, mariachi and Greek and Slavic rhythms.

The other CD features instrumental songs, composed and produced by conductor Tim Rescala. Nuances of tragedy, poetry, suspense and comedy set the tone of the score, which moves away from so-called commercial songs and popular singers and brings 28 unpublished compositions recorded by the Heliópolis Symphony Orchestra and Coral da Gente. References would come from Western Spaghetti, Kurt Weill, Nino Rota and mariachi.

In the soap opera, the popular country songbook was represented by the character Viramundo, played by singer and songwriter Gabriel Sater. Although the score is essentially instrumental, the presence of a version of “Chuá Chuá,” recorded and sung by the entire cast, has become one of the most emblematic scenes of Meu Pedacinho Chão.

Awards

APCA Award

Best Director (nominee) – Luiz Fernando Carvalho
TV Drama (nominee) – Benedito Ruy Barbosa
Best Actor – Irandhir Santos

 

Contigo Award

Best Soap Opera
Best Actor – Raul Cortez
Best Actress – Patricia Pillar
Best Supporting Actor – Stenio Garcia
Best Female Villain – Gloria Pires
Best Male Villain – Oscar Magrini
Best Breakthrough Actress – Lavínia Vlasak
Best Breakthrough Actor – Marcello Antony
Best Opening – Hans Donner
Best Child Actor – Pedro Gabriel
Best Romantic Couple – Leticia Spiller and Leonardo Brício
Best Set design – Monica Welker and Raul Travassos

Prêmio Extra de Televisão

Best Costume – Thanara Schönardie
Best Makeup – Rubens Libório
Best Soap Opera (nominee) – Benedito Ruy Barbosa
Best Actress (nominee) – Juliana Paes
Best Actor (nominee) – Irandhir Santos
Best Child Actor (nominee) – Tomás Sampaio
Best New Actor/Actress (nominee) – Paula Barbosa

F5 Award

Best New Actor/Actress – Paula Barbosa
Soap Opera of the Year (nominee)
Actor of the Year (nominee) – Irandhir Santos
Actress of the Year (nominee) – Bruna Linzmeyer
Supporting Actor of the Year (nominee) – Osmar Prado
Supporting Actress of the Year (nominee) – Juliana Paes

Prêmio Quem de Televisão

Best Author – Benedito Ruy Barbosa
Best Actor – Irandhir Santos
Best Supporting Actor – Johnny Massaro
Best Actor (nominee) – Osmar Prado
Best Actor (nominee) – Rodrigo Lombardi
Best Actress (nominee) – Juliana Paes
Best Supporting Actress (nominee) – Inês Peixoto
Best New Actor – Bruno Fagundes
Best New Actor/Actress (nominee) – Paula Barbosa
Best New Actor – Gabriel Sater

APCA Award

Best Director (nominee) – Luiz Fernando Carvalho
TV Drama (nominee) – Benedito Ruy Barbosa
Best Actor – Irandhir Santos

 

Contigo Award

Best Soap Opera
Best Actor – Raul Cortez
Best Actress – Patricia Pillar
Best Supporting Actor – Stenio Garcia
Best Female Villain – Gloria Pires
Best Male Villain – Oscar Magrini
Best Breakthrough Actress – Lavínia Vlasak
Best Breakthrough Actor – Marcello Antony
Best Opening – Hans Donner
Best Child Actor – Pedro Gabriel
Best Romantic Couple – Leticia Spiller and Leonardo Brício
Best Set design – Monica Welker and Raul Travassos

Prêmio Extra de Televisão

Best Costume – Thanara Schönardie
Best Makeup – Rubens Libório
Best Soap Opera (nominee) – Benedito Ruy Barbosa
Best Actress (nominee) – Juliana Paes
Best Actor (nominee) – Irandhir Santos
Best Child Actor (nominee) – Tomás Sampaio
Best New Actor/Actress (nominee) – Paula Barbosa

F5 Award

Best New Actor/Actress – Paula Barbosa
Soap Opera of the Year (nominee)
Actor of the Year (nominee) – Irandhir Santos
Actress of the Year (nominee) – Bruna Linzmeyer
Supporting Actor of the Year (nominee) – Osmar Prado
Supporting Actress of the Year (nominee) – Juliana Paes

Prêmio Quem de Televisão

Best Author – Benedito Ruy Barbosa
Best Actor – Irandhir Santos
Best Supporting Actor – Johnny Massaro
Best Actor (nominee) – Osmar Prado
Best Actor (nominee) – Rodrigo Lombardi
Best Actress (nominee) – Juliana Paes
Best Supporting Actress (nominee) – Inês Peixoto
Best New Actor – Bruno Fagundes
Best New Actor/Actress (nominee) – Paula Barbosa
Best New Actor – Gabriel Sater

APCA Award

Best Director (nominee) – Luiz Fernando Carvalho
TV Drama (nominee) – Benedito Ruy Barbosa
Best Actor – Irandhir Santos

 

Contigo Award

Best Soap Opera
Best Actor – Raul Cortez
Best Actress – Patricia Pillar
Best Supporting Actor – Stenio Garcia
Best Female Villain – Gloria Pires
Best Male Villain – Oscar Magrini
Best Breakthrough Actress – Lavínia Vlasak
Best Breakthrough Actor – Marcello Antony
Best Opening – Hans Donner
Best Child Actor – Pedro Gabriel
Best Romantic Couple – Leticia Spiller and Leonardo Brício
Best Set design – Monica Welker and Raul Travassos

Prêmio Extra de Televisão

Best Costume – Thanara Schönardie
Best Makeup – Rubens Libório
Best Soap Opera (nominee) – Benedito Ruy Barbosa
Best Actress (nominee) – Juliana Paes
Best Actor (nominee) – Irandhir Santos
Best Child Actor (nominee) – Tomás Sampaio
Best New Actor/Actress (nominee) – Paula Barbosa

F5 Award

Best New Actor/Actress – Paula Barbosa
Soap Opera of the Year (nominee)
Actor of the Year (nominee) – Irandhir Santos
Actress of the Year (nominee) – Bruna Linzmeyer
Supporting Actor of the Year (nominee) – Osmar Prado
Supporting Actress of the Year (nominee) – Juliana Paes

Prêmio Quem de Televisão

Best Author – Benedito Ruy Barbosa
Best Actor – Irandhir Santos
Best Supporting Actor – Johnny Massaro
Best Actor (nominee) – Osmar Prado
Best Actor (nominee) – Rodrigo Lombardi
Best Actress (nominee) – Juliana Paes
Best Supporting Actress (nominee) – Inês Peixoto
Best New Actor – Bruno Fagundes
Best New Actor/Actress (nominee) – Paula Barbosa
Best New Actor – Gabriel Sater

APCA Award

Best Director (nominee) – Luiz Fernando Carvalho
TV Drama (nominee) – Benedito Ruy Barbosa
Best Actor – Irandhir Santos

 

Contigo Award

Best Soap Opera
Best Actor – Raul Cortez
Best Actress – Patricia Pillar
Best Supporting Actor – Stenio Garcia
Best Female Villain – Gloria Pires
Best Male Villain – Oscar Magrini
Best Breakthrough Actress – Lavínia Vlasak
Best Breakthrough Actor – Marcello Antony
Best Opening – Hans Donner
Best Child Actor – Pedro Gabriel
Best Romantic Couple – Leticia Spiller and Leonardo Brício
Best Set design – Monica Welker and Raul Travassos

Prêmio Extra de Televisão

Best Costume – Thanara Schönardie
Best Makeup – Rubens Libório
Best Soap Opera (nominee) – Benedito Ruy Barbosa
Best Actress (nominee) – Juliana Paes
Best Actor (nominee) – Irandhir Santos
Best Child Actor (nominee) – Tomás Sampaio
Best New Actor/Actress (nominee) – Paula Barbosa

F5 Award

Best New Actor/Actress – Paula Barbosa
Soap Opera of the Year (nominee)
Actor of the Year (nominee) – Irandhir Santos
Actress of the Year (nominee) – Bruna Linzmeyer
Supporting Actor of the Year (nominee) – Osmar Prado
Supporting Actress of the Year (nominee) – Juliana Paes

Prêmio Quem de Televisão

Best Author – Benedito Ruy Barbosa
Best Actor – Irandhir Santos
Best Supporting Actor – Johnny Massaro
Best Actor (nominee) – Osmar Prado
Best Actor (nominee) – Rodrigo Lombardi
Best Actress (nominee) – Juliana Paes
Best Supporting Actress (nominee) – Inês Peixoto
Best New Actor – Bruno Fagundes
Best New Actor/Actress (nominee) – Paula Barbosa
Best New Actor – Gabriel Sater

APCA Award

Best Director (nominee) – Luiz Fernando Carvalho
TV Drama (nominee) – Benedito Ruy Barbosa
Best Actor – Irandhir Santos

 

Contigo Award

Best Soap Opera
Best Actor – Raul Cortez
Best Actress – Patricia Pillar
Best Supporting Actor – Stenio Garcia
Best Female Villain – Gloria Pires
Best Male Villain – Oscar Magrini
Best Breakthrough Actress – Lavínia Vlasak
Best Breakthrough Actor – Marcello Antony
Best Opening – Hans Donner
Best Child Actor – Pedro Gabriel
Best Romantic Couple – Leticia Spiller and Leonardo Brício
Best Set design – Monica Welker and Raul Travassos

Prêmio Extra de Televisão

Best Costume – Thanara Schönardie
Best Makeup – Rubens Libório
Best Soap Opera (nominee) – Benedito Ruy Barbosa
Best Actress (nominee) – Juliana Paes
Best Actor (nominee) – Irandhir Santos
Best Child Actor (nominee) – Tomás Sampaio
Best New Actor/Actress (nominee) – Paula Barbosa

F5 Award

Best New Actor/Actress – Paula Barbosa
Soap Opera of the Year (nominee)
Actor of the Year (nominee) – Irandhir Santos
Actress of the Year (nominee) – Bruna Linzmeyer
Supporting Actor of the Year (nominee) – Osmar Prado
Supporting Actress of the Year (nominee) – Juliana Paes

Prêmio Quem de Televisão

Best Author – Benedito Ruy Barbosa
Best Actor – Irandhir Santos
Best Supporting Actor – Johnny Massaro
Best Actor (nominee) – Osmar Prado
Best Actor (nominee) – Rodrigo Lombardi
Best Actress (nominee) – Juliana Paes
Best Supporting Actress (nominee) – Inês Peixoto
Best New Actor – Bruno Fagundes
Best New Actor/Actress (nominee) – Paula Barbosa
Best New Actor – Gabriel Sater

Books

Critical Fortune

31, Jul — 2014

Meu Pedacinho de Chão To Have a Place in the History of Television

  • Patricia Kogut
  • O Globo

 “Luiz Fernando Carvalho did an original rereading, one with his strong marks.”

Leia Mais

9, Apr — 2014

This is Not a Piece of Ground, It Is a Large Estate

  • Cristina Padiglione
  • O Estado de S.Paulo

 “A fairy tale pops up on the screen, bringing a profusion of colors.”

Leia Mais

1, Aug — 2014

Meu Pedacinho de Chão Makes History for Its Innovative Aesthetics

  • Nilson Xavier

“Virtually unanimous, the artistic qualities of Meu Pedacinho de Chão are unquestionable.”

Leia Mais

27, May — 2014

The Beautiful Meu Pedacinho de Chão Quells Any Doubts After Debut

  • Patricia Kogut
  • O Globo

 “Meu Pedacinho de Chão is one of the great productions of our TV. It walks on by elegantly, as handcrafted as possible, and its poignant story makes it worth it.”

Leia Mais

9, Apr — 2014

Colors and Filters Punctuate Plot in Meu Pedacinho de Chão

  • Alexandra Moraes
  • Folha de S.Paulo

 “Good acting and a steady hand in the direction make for a meaningful plot.”

Leia Mais

31, Jul — 2014

Meu Pedacinho de Chão: Aesthetics on the Right Track

  • Vanessa Scalei
  • Zero Hora

“Bold as for its aesthetics and duration – only four months – and with impeccable performances.”

Leia Mais

7, Apr — 2014

Meu Pedacinho de Chão Debuts with Innovative Aesthetic Proposal

  • Nilson Xavier

 “Anyone who knows the work of director Luiz Fernando Carvalho on television expects that aesthetic innovation be his goal.”

Leia Mais

9, Apr — 2014

Meu Pedacinho de Chão Debuts with Indelible Director’s Branding

  • Patricia Kogut
  • O Globo

“The chapter had the strong traits of the director Luiz Fernando Carvalho’s work.”

Leia Mais

30, Jul — 2014

Five Reasons that Make of Meu Pedacinho de Chão Unforgettable

  • Raphael Scire
  • UOL

 “Rescued magic for Brazilian soap operas.”

Leia Mais

7, Apr — 2014

Meu Pedacinho de Chão Has Good Technique, but Can Scare Viewers

  • Revista Veja

 “Benedito Ruy Barbosa and Luiz Fernando Carvalho are taking a big step towards innovation.”

Leia Mais

7, Apr — 2014

Bold and Visual, New Soap Opera of Early Evening Is ​​an Aesthetic Daydream

  • Raphael Scire
  • UOL

 “Your eyes will surely be grateful to follow this fable.”

Leia Mais

7, Apr — 2014

Meu Pedacinho de Chão: The Daring Fable of Early Evening

  • Fa Marianno
  • Olhar na TV

 “A bold, innovative plot that shocks for running away from the usual.”

Leia Mais

2, Aug — 2014

Meu Pedacinho de Chão: An Unforgettable Fable

  • Jônatas Amaral
  • Alma Crítica

 “A brilliant, bold, historical soap opera.”

Leia Mais

2, Jul — 2014

Meu Pedacinho de Chão and Social Critique

  • Dani Fechine
  • La Parola

“The criticisms and discussions are bounced, and now it is up to us to absorb, discuss, and question them.”

Leia Mais

Press

Principais notícias

27, Apr — 2014

Luiz Fernando Carvalho Criticizes Traditional Soap Operas and Crosses Over Fairy Tale and Comic Book

  • Sylvia Colombo
  • Folha de S.Paulo

Luiz Fernando Carvalho: “The internet has changed the way we watch TV.”

Leia Mais

31, Jul — 2014

You Need to Innovate More and Copy Less

  • Mauricio Stycer
  • UOL

 “Like so many other works by Luiz Fernando Carvalho, Meu Pedacinho de Chão is totally off the beaten path and takes viewers by surprise.”

Leia Mais

25, May — 2014

See Details of the Creation of Meu Pedacinho de Chão

  • Natalia Castro
  • O Globo

Luiz Fernando Carvalho: “The language of the soap opera is a mix of technologies, because handicraft per se is a very sophisticated technology that no machine can beat.” 

Leia Mais

7, Apr — 2014

‘If I Have to Think About Viewers, I Will Never Shoot’

  • Louise Soares
  • Folha de S.Paulo

Luiz Fernando Carvalho: “My mission is to be able to deliver excellent content to a country so lacking in quality and perhaps enchantment is the best choice.”

Leia Mais

7, Apr — 2014

Meu Pedacinho de Chão Debuts with Air of Tropical Tim Burton

  • Isabelle Moreira Lima
  • Folha de S.Paulo

“According to Osmar Prado, the work was the most peculiar he has ever engaged in his entire career. We used the concept of commedia dell’arte, along with the images of Van Gogh, Tim Burton and the camera of Luiz Fernando Carvalho.”

Leia Mais

11, Mar — 2014

Soap Opera Meu Pedacinho de Chão Comes Back with Only 20 Actors

  • Cristina Padiglione
  • O Estado de S.Paulo

“A fable-like soap opera with a comic book narrative, willing to resist the pitfalls imposed by the industrial process of free television: this is Luiz Fernando Carvalho’s resource while rereading Meu Pedacinho de Chão, Benedito Ruy Barbosa’s original soap.”

Leia Mais

21, Jul — 2014

Meu pedacinho de chão Does Not Settle and It Snows in Rio

  • Cristina Padiglione
  • O Estado de S.Paulo

“Two weeks after its end, Meu Pedacinho de Chão is far from being the soap opera that nobody can stand to see anymore.”

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7, Jun — 2014

Visual Artist of the ‘Dream World’ of the Early Evening Soap Opera Opens his Studio

  • O Dia

Raimundo Rodriguez: “I don’t create sets, I create environments. I use television for art. Luiz and I are in synch, we are interested in the process, the encouragement needed to invent new things. I am totally free in my work with him.”

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21, Mar — 2014

Meu Pedacinho de Chão: Set Uses 20 Tons of Can

  • Terra

“Director Raimundo Rodriguez was responsible for the project and to cover roofs, walls, doors, and windows used a lot of material. “About 20 tons of open, folded, cut, pigmented, hammered, flattened paint cans were used.”

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1, Jul — 2014

Show Explains the Costumes of Meu Pedacinho de Chão’

  • Gislaine Gutierre
  • Folha de S.Paulo

“The Thanara Schönardie – Meu Pedacinho de Chão exhibit at the Silvia Cintra + Box 4 gallery shows how these clothes were created, and applies them in new art installations.”

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21, Dec — 2014

Exhibition Shows Costumes of the Soap Opera Meu pedacinho de chão in Rio

  • G1

“Forty-two pieces are part of the exhibit at Biblioteca Parque Estadual in downtown Rio.”

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15, May — 2014

Meu Pedacinho de Chão Has Critics Dumbfounded and Has Good Ibope Ratings

  • Thiago Forato
  • UOL

 “It has an unusual care.”

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Academic Studies

Meu Pedacinho de Chão: An Explosion of Senses in Brazilian TV Drama

  • Renata Mansque da Silva
  • UFRGS
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Crazy Carnival: Playful Mise-En-Scene and Burlesque Realism in Soap Opera Meu Pedacinho de Chão

  • Maria Isabel Rodrigues Orofino
  • UniSul
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Representation of the Visible: Visual Arts and Art Direction in Brazilian Audiovisual

  • Milena Leite Paiva e Anderson dos Santos Paiva
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Dialog between aesthetics and ethics in the production of meanings of education and citizenship in the soap opera Meu Pedacinho de Chão

  • Maria Cristina Palma Mungioli Gustavo Amaral
  • USP
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Meu Pedacinho de Chão – Construction and Speeches of a Soap Fable Opera

  • Maria Cristina Palma Mungioli Gustavo Amaral
  • USP
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Meu Pedacinho de Chão: Audiovisual Postmodernism, Foundations and the Possible Reconfigurations of Soap Opera

  • Daniel Gambaro Kaike Wrechiski Leite
  • USP
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Créditos

Meu Pedacinho de Chão with Juliana Paes, Osmar Prado, Rodrigo Lombardi, Bruna Linzmeyer, Irandhir Santos, Antônio Fagundes, Johnny Massaro, Flavio Bauraqui, Inês Peixoto, Dani Ornellas, Ricardo Blat, Paula Barbosa, Teuda Bara, Cintia Dicker, Fernando Sampaio, Raul Barretto, Alice Coelho, Alex Brasil, Evandro Melo, Emiliano Queiroz. Introducing Bruno Fagundes, Gabriel Sater and Leticia Almeida. Children Tomás Sampaio, Geytsa Garcia and Kaue Ribeiro. A soap opera by Benedito Ruy Barbosa with Text Collaboration by Edilene Barbosa and Marcos Barbosa de Bernardo. Costume Thanara Schönardie. Visual Artist Raimundo Rodriguez. Characterization Rubens Libório. Scenography Keller Veiga. Art Production Marco Cortez. Cinematography José Tadeu. Music Tim Rescala. Cast Production Marcia Andrade. Dramaturgy Instructors Tiche Viana, Antonio Karnewale and Renata Franceschi Body Preparation Lucia Cordeiro Vocal Preparation Agnes Moço Physical Preparation Felipe Simões Prosody Renata Soffredini. Edition Iury Pinto, Alberto Gouvea, Carlos Kerr and Marcia Watzl. Illustrator Beto Campos. Special Effects Ricardo Menezes. Animation Direction Cesar Coelho. Animator Pedro Luá. Cameraman Murilo Azevedo, Leandro Pagliaro, Thelso Gaertner, Tito Livio, Marcello Motta and Cristiano Barroso. Executive Production Maristela Velloso. Assistant Directors Carla Bohler Antônio Karnewale and Bernardo Sá. Assistant Director Pedro Freire. Direction Henrique Sauer. General Direction Luiz Fernando Carvalho and Carlos Araújo. Artistic Direction Luiz Fernando Carvalho