Historic
It all started in 1994 and we continue with the creation of various shows, artistic, social and business projects. That's what's to come.
We walked through national and international scenarios. We are, admittedly, part of everything that strengthens the Minas Gerais art scene and we have received important awards for work done with love.
May there still be many stories to tell.
Historic
It all started in 1994 and we continue with the creation of various shows, artistic, social and business projects. That's what's to come.
We walked through national and international scenarios. We are, admittedly, part of everything that strengthens the Minas Gerais art scene and we have received important awards for work done with love.
May there still be many stories to tell.
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The history of the Trampulim Group began in 1994, with Spasso - Popular Circus School as its first headquarters. In the year 2000, Trampulim became independent of the school, establishing itself as one of the main groups working the circus language in Belo Horizonte.
In 2003 with the premiere of the show “Uma surpresa para Benedita”, the Group signs what would become the flagship of its research: the language of the clown.
Two years later the Group had already reached the Brazilian and international scenarios, entitled to an extensive tour of Canada. The experience in Canada has been a watershed in the Group, where, from studies with Canadian master Sue Morrison, the group focuses on clown language and improvisation.
In 2006, the concept of INVASION, in the sense of space occupation, diffusion and incursion of an ideal, spread in our senses and gave rise to the intervention INVASION OF CLOWNS, a spectacle that remains in its repertoire, and that was the trigger for to two editions of ÍMPETO - World Clown Invasion and All Others, (in 2007 and 2010), a festival that sought to explore this concept en masse.
This dive unfolded in various formats of invasion, especially the Laughter Passenger, whose motto was the invasion of buses and subways, and circulated through five Brazilian capitals (Rio de Janeiro, Porto Alegre, Sao Paulo, Recife and Belo Horizonte).
Continuing its research, the Group strengthened the presence of music and created Pratubate, a spectacle that deconstructs the public's view as a spectator, making it also a protagonist. For this it used the strength of the drums that, distributed to the audience, became a powerful communication tool.
“O Labirinto” premiered in 2008, a show-research that places improvisation as an intersection point between the languages of the clown and circus aerial acrobatics, and blends a previously structured dramaturgical plan with live stage creations.
At the end of the same year, and continuing the musical research, the Trampulim Group premiered the show Manotas Musicais, conceived from the idea of using music as a game tool also for the clown.
2011 was the year of the Experiment, a show that innovates by its peculiar process of creation. Each presentation was created a new Experiment, in just five days of work and "tried" in a new way at the end of the process. A true creative incubator of comic scenes.
In 2014, Trampulim strengthened its ties with Portugal, where it established contacts with renowned institutions and held workshops focusing on the language of clown, improvisation and music.
In 2016 the group participates in the SESC Project, the Rotating Stage circulating during the year through 37 Brazilian cities. It was the largest circulation in the history of the Group, and an opportunity to break down geographical barriers and spread its name and work throughout Brazil.
It premiered its 18th edition in 2017, the show ACORDA. This montage contemplated some old wishes of the Group to work with a new aesthetic about the clown, also aimed at an older audience. The debut was a blockbuster and critical hit.
Partnering with new Directors at each assembly becomes a Group principle. During its 25-year career, the group has worked with Geraldim Miranda (Panis et Circense and Oraprocircus), Gabriel Guimard (The Court), Rodrigo Matheus, James Gamboggi, Vivi and Serginho (The Bridge), Rogério Sette Câmara (A surprise for Benedita ), Fernando Escrish (Musical Manotas), Paula Manata (Wake Up), and this year begins an investigative process on clown and impro via the Municipal Culture Fund of Belo Horizonte, led by Mariana Muniz. [/read]
The history of the Trampulim Group began in 1994, with Spasso - Popular Circus School as its first headquarters. In the year 2000, Trampulim became independent of the school, establishing itself as one of the main groups working the circus language in Belo Horizonte.
In 2003 with the premiere of the show “Uma surpresa para Benedita”, the Group signs what would become the flagship of its research: the language of the clown.
Two years later the Group had already reached the Brazilian and international scenarios, entitled to an extensive tour of Canada. The experience in Canada has been a watershed in the Group, where, from studies with Canadian master Sue Morrison, the group focuses on clown language and improvisation.
In 2006, the concept of INVASION, in the sense of space occupation, diffusion and incursion of an ideal, spread in our senses and gave rise to the intervention INVASION OF CLOWNS, a spectacle that remains in its repertoire, and that was the trigger for to two editions of ÍMPETO - World Clown Invasion and All Others, (in 2007 and 2010), a festival that sought to explore this concept en masse.
This dive unfolded in various formats of invasion, especially the Laughter Passenger, whose motto was the invasion of buses and subways, and circulated through five Brazilian capitals (Rio de Janeiro, Porto Alegre, Sao Paulo, Recife and Belo Horizonte).
Continuing its research, the Group strengthened the presence of music and created Pratubate, a spectacle that deconstructs the public's view as a spectator, making it also a protagonist. For this it used the strength of the drums that, distributed to the audience, became a powerful communication tool.
“O Labirinto” premiered in 2008, a show-research that places improvisation as an intersection point between the languages of the clown and circus aerial acrobatics, and blends a previously structured dramaturgical plan with live stage creations.
At the end of the same year, and continuing the musical research, the Trampulim Group premiered the show Manotas Musicais, conceived from the idea of using music as a game tool also for the clown.
2011 was the year of the Experiment, a show that innovates by its peculiar process of creation. Each presentation was created a new Experiment, in just five days of work and "tried" in a new way at the end of the process. A true creative incubator of comic scenes.
In 2014, Trampulim strengthened its ties with Portugal, where it established contacts with renowned institutions and held workshops focusing on the language of clown, improvisation and music.
In 2016 the group participates in the SESC Project, the Rotating Stage circulating during the year through 37 Brazilian cities. It was the largest circulation in the history of the Group, and an opportunity to break down geographical barriers and spread its name and work throughout Brazil.
It premiered its 18th edition in 2017, the show ACORDA. This montage contemplated some old wishes of the Group to work with a new aesthetic about the clown, also aimed at an older audience. The debut was a blockbuster and critical hit.
Partnering with new Directors at each assembly becomes a Group principle. During its 25-year career, the group has worked with Geraldim Miranda (Panis et Circense and Oraprocircus), Gabriel Guimard (The Court), Rodrigo Matheus, James Gamboggi, Vivi and Serginho (The Bridge), Rogério Sette Câmara (A surprise for Benedita ), Fernando Escrish (Musical Manotas), Paula Manata (Wake Up), and this year begins an investigative process on clown and impro via the Municipal Culture Fund of Belo Horizonte, led by Mariana Muniz.