Winner of the Shell Award for Best Author (Alexandre Dal Farra) and nominated for Best Actor (Vitor Vieira), and also winner of Cooperativa Paulista Theater Award for Best Sitespecific Play  Matthew, 10 follows the a sheppard´s obsession, and his consequent desire to form a new religious doctrine.

With references to Bartleby, by Herman Melville, and Crime and Punishment, by Dostoevsky, the play raises questions about guilt, alienation and faith through the trajectory of a pastor who takes what he preaches too seriously . Otávio is a rising pastor who goes into crisis with his activity, when he clings almost obsessively to a passage in the Bible in which Jesus disowns his family, mother and brothers, according to his followers and disciples. From then on, Otávio started to develop and preach a new doctrine. The obsessive desire to deny the known for the sake of the new, at any cost, takes him to the edge of madness. To establish a new order he needs a fact that changes the direction of his life, and it is from this attitude that the plot unfolds.

In the second act, Carlos, Thereza's husband, an ambiguous figure who invades Otávio's life, promotes a barbecue at his home, where the facts will come to light without taking the course expected by the pastor. Otávio tries to confess his crime, which is not accepted by others. He ends up being expelled from the church; however, no new order is established.

Few scenic elements value the interpretation of the actors and the text as the main drivers of the staging.

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AWARDS, REVIEWS AND OTHER INFORMATION

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Winner of the Shell Award 2012 . Best Author - Alexandre Dal Farra

 

Nominated for the Shell Award 2012. Best Actor - Vitor Vieira

 

2012 CPT Award Winner. Best show in alternative spaces - Mateus, 10

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CRITICISM

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"In Matthew, 10, we follow very closely, almost in the middle of the scene, the environments, the poor houses and the evangelical church, where Otávio Sheppard launches his net to capture souls and simultaneously loses his own soul, corroded by doubts and fragments of truth, with which he simply cannot deal. Mateus, 10 also demonstrates that it is possible to speak of our time with the lively tones of the Portuguese language and with the simple intelligence of direction and performance, in opposition to every movement in which the theater mimics, in a far-fetched way, its own “society of the spectacle."

Text excerpt by Tales Ab'Sáber, psychoanalyst and professor of Philosophy of Psychoanalysis at the Federal University of São Paulo (UNIFESP) .

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