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Kithi text and photos

The historical moment represented in the play Mulheres Malês on the banks of the river, with text and direction by Heme Costa, is the Levante do Joanes River.

The Levante was a bloody fight that occurred on February 28, 1814, in Santo Amaro de Ipitanga, current municipality of Lauro de Freitas, in Bahia. Pioneer movement of the Malês Revolt in 1835.

The goal: freedom from slavery that they were subjected to.

The show brings as protagonists the women who were part of this process: Ludovina, Tereza, Germana and Francisca.

The montage takes place the night before the Levante. Bringing to the stage the fears, doubts and concerns that preceded the bloody battle, but mainly, attesting to the presence of women in combat, ancestral memory forgotten in most books that tell the history of the state.

O que a princípio parecia ser um espetáculo com repertório comum ao gênero, ganhou outra dimensão quando a fala saiu do coletivo para o individual.

Com o fluir do texto conduzido pela trilha sonora de Liz Novais que intercala as falas ou dirige a ação, junto com a alternância de personagens aguerridos e doces na expressão, o espetáculo proporciona ao público uma leveza para o tema pelo justo equilíbrio entre tensão e relaxamento.


For each character, the representation of their emotional interior at that moment before the fight. They are in themselves and for themselves the expressed manifestation of their deepest self that makes up the same whole woman.

With due proportions, the same internal struggles fought by us women today.

The slave quarters, in addition to the construction of stone and lime, still exist in the sexist, racist and sexist actions of contemporary society.

Invisibility in the trenches of work and action, whether from home or from the street, is still a natural movement of everyday life.

We are made of fight!

My portrait was exposed to each woman who presented herself as if the parts of my days had been ripped away, a reality for many of us.

The strength of the machete at the waist, the insane dialogue with the child at the center of the battle, the sweetness of the unshakable faith that leads to the confidence necessary for action, the courage to throw oneself into the sea in search of the whale... context, everything is yesterday and today.

The ability to connect two worlds, temporally distant but so close, is impressive. Therein lies the magic of this show.

The simple setting gains amplitude with the lighting by Ely Batista and the presence of all the characters on the scene that contextualize the environment with subtle movements. In fact, the piece is made of subtleties.

The cast, perfect. Each brought what was exact to the whole, and the one man, beats his drum watching it all, attentive to his time to enter the scene, as do those who listen to wise women before battle.

The performance of the four main characters draws attention for their resourcefulness, skill and transformation on stage.

The mastery with the use of the machete that makes the spark flow from the stone, the strength of the facial expression, the energy of the dance, the transformation of Verônica Amorim into the warrior Teresa, fearless and with a frightening look, is the high point of the play. Ogun himself, Orisha of war, dressed up. Amazing!

Ludovina, the woman who talks to her child, in a mixture of lucidity and madness, in a state of 'not knowing what to do' is translated by the interpretation of Ana Cláudia Vitória, the expressed madness of an afflicted mother. A show apart.

Germana, played by Mila Ribeiro, seeks support in singing and prayer to transform sweetness into the strength necessary for the struggle. A ballet for the Mãe D'água that soothes and protects her children.

And Kalu Santana, who interprets Francisca's courage with her harpoon facing seas in search of whales, perfectly translating the exact time to shoot the accurate arrow that kills the enemy that sustains slavery.   


The success of this show lies in the playful, sensitive and lucid representation of the emotions and qualities of being a woman.


Referred to the Braskem Theater Award, in the category Spectacle of the Interior, the technical file is:

Text and Direction: Heme Costa

Lighting: Ely Batista

Soundtrack: Liz Novais

Production: Cristiane Santana and Fernanda Anjos

Cast: Verônica Amorim, Ana Cláudia Vitória, Mila Ribeiro, Kalú Santana, Paula Lima, Liz Novais and Valesca Barreto.

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