Gambiarra as Eco-Scenography
The concept of gambiarra has always fascinated me. As have other Portuguese-language words that have no English equivalent. 'Saudade' comes to mind. It's what you say when you want to express that you miss someone. But the English word doesn't completely express the meaning of saudade. Saudade is a longing for someone, most likely someone who's far away. It's not a one-dimensional feeling; it expresses a deep sense of melancholy, as well as reminiscence of the past.
I feel saudade for my country. I rarely just 'miss it'.
Gambiarra is another term that has no true equivalent in the English language. A user of Urban Dictionary described it as "using improvised methods [...] to solve a problem, with any available material". Some loose English equivalents are 'McGyverism', which another user defines as "the art of making household items into different contraptions"; 'kludge', "a quick, messy but functional fix to a problem"; and "workaround", which needs no definition.
Note that Urban Dictionary, my chosen source, is itself gambiarra-adjacent. As is Wikipedia, and other online platforms seeking to make more out of less. More content, less expenses. A perfect workaround.
Brazilian theater makers have often made use of gambiarra. In the absence of resources, well-trained professionals, and State support, we have become experts at making theater out of nothing. It was not a choice. It was a necessity. As a result, we've perfected the art of making more with less. American theater makers who want to incorporate eco-theater practices to their work, can benefit from a better understanding of the term, and its applications.
The best example of large-scale gambiarra is the opening ceremony of the Rio Olympics in 2016. The full, unedited video is available on Youtube, and I highly recommend you watch excerpts.
In one of the many striking images of the ceremony, a group of indigenous Brazilians danced on stage while holding the ends of plastic strings which were connected on the other end to the ceiling of the stadium. An inexpensive trick that, when well choreographed and well lit, resulted in a number of ludic, breathtaking patterns; such as when the strings appeared to become large, cone-shaped birchbark houses.
You can also find a plethora of examples of gambiarra in Brazilian film. Most notably, in City of God, nominated for four Academy Awards. Director Fernando Meirelles delivered spectacular imagery and acting on a stingy three million dollar budget, due in large part to the filmmaker's willingness to work with amateurs actors and filmmakers, to film on location, in other words, to make-do. Ironically, Meirelles was also part of the artistic direction team of the Rio Olympics opening ceremony.
With gambiarra, artists are able to give a sense of place and story while using minimal tools, sticking to a tight budget, and helping reduce the waste that comes with making theater. American theater artists could learn a lot from the Brazilian way of making art. By doing so, they will invariably be making eco-theater.
Here are a few tips on how to incorporate Brazil's gambiarra theater-making process into your own eco-theater work:
Read your play thoughtfully, paying particular attention to the set elements that are most important to the story.
Gather a number of used objects that you have no use for, and bring them to the stage or rehearsal space.
Play with the objects, and encourage your actors to do the same. This is a particularly relevant exercise if you're working on a devised piece; or a piece in which the script is in constant flux. Let the actors wash you away with their creativity. I once saw an actor use a single hanger to make himself look like a realistic fish swimming in water! During this stage, it might also be helpful to bring a camera into the rehearsal room. Sometimes actors tend to make something really great out of nothing (a discovery!), but don't realize that, and end up moving onto the next thing quite quickly. A camera will help you gain a broad view of every single idea that came up during play, whether or not it was further explored.
Re-visit your designs and strategies after seeing the actors playing with their set pieces and props. You've just watched them create vivid, striking images.
Incorporate some of those images to your designs. Meet with the director and show them what you've found. Have the other designers in the room too. If you're not coordinating your exploration with the director and the design team, there's a good chance your gambiarra could feel out-of-place; an extra limb in an otherwise full-bodied play.
In order to assess your success at remaining eco-conscious, keep a list of how many second-hand or repurposed materials you are using, in comparison with new materials. Also pay particular attention to how many of your materials are recyclable, and how many would make it to the trash after the run of the play.
The most important rules: enjoy the process, don't put too much pressure on yourselves or others (gambiarra takes practice), and congratulate yourself and the other artists on your commitment to making eco-friendly theater. Finally, know that there is always room to get better and greener. As I said, it takes practice. So, why not start using gambiarra in your very next play?
