From the book to the stage, an adaptation of the greatest Brazilian literary work of the 20th century, “Grande Sertão: Veredas”, a mission and a commitment  carried out by Bia Lessa,  who decided to objectify the universes enclosed in the masterpiece of João Guimarães Rosa.

Realization: 2+3 Production

Permanent exhibition
The audience follows the show through individual headphones.
Duration: 2:20h (two hours and twenty minutes)




Bia Lessa is a multifaceted artist. Filmmaker, director of theater, opera and exhibitions. 

Theater: Orlando by Virginia Woolf, shown at Theatre Del Welt Festival in Germany and in Canada, France, Spain. Medea, Der Mann ohne Eigenschaften in Zurich ,  Voyage au centre de la Terre shown at Centre George Pompidou in Paris, Zurich etc.

Exibitions: Haute Couture de Christian Lacroix, Grande Sertao Veredas opening the Museu da Lingua Portuguesa, Mostra do Redescobrimento ( Redescovery ) 500 years of Brazil – Bienal of Sao Paulo, Pavillon Humanidade 2012 in Rio de Janeiro during the Rio +20.

She was the creator of the Brazilian Pavilion at Expo 2000 in Hannover etc. Operas: 

Operas:  Suor Angelica with the architeture  of Paulo Mendes da Rocha ( Pritzker Prize ) ,Don Giovanni, Cavaleria Rusticana etc..The re-opening of the Municipal Theater of Rio de Janeiro with the Opera Il Trovatore.  

Her first film CREDE-mi, based on Thomas Mann's Der Erwaelte  was shown in Berlin, Sao Francisco, New York, Jerusalem, Calcutta, Biarritz and many others festivals in the world.


Captura de Tela 2017-11-23 às 02.14.50.png


Born on 12/16/1961, France
Fashion training:  Instituto Studio Berçot, ParisSTYLIST FOR COMPANIES

Jean-Claude Delucas
Peclers Paris
Gala Forest Paris
Grupo Pingoin-Paramont Lansul
Reinaldo Lourenço
Grupo Alpargatas
Regina Guerreiro



Journey to the Center of the Earth, written by Jules Verne, directed by Bia Lessa.

A Doll’s House, written by Henrik Ibsen, directed by Bia Lessa.

Medea, written by Euripides, directed by Bia Lessa.




Born in Brazil in 1928, Mendes da Rocha began his career in São Paulo in the 1950s as a member of the “Paulist brutalist” avant-garde. He received a degree in architecture in 1954, opened his office in 1955 and soon thereafter created an early masterpiece, the Athletic Club of São Paulo (1957).

Mendes da Rocha has maintained a private practice, taught at the University of São Paulo and acted as President of the Brazilian Institute for Architects. He has received many awards, including the Mies van der Rohe prize for Latin American Architecture (2000). The award paid tribute to the architect’s respectful renovation of the Pinacoteca do Estado, Sao Paulo’s oldest fine arts museum.

One of the most consistently daring of twentieth century architects, Mendes da Rocha has worked notably in the public realm, creating concrete and steel forms of immense power and grace. Among his widely known built works is the Museum of Contemporary Art (1975) at the University of São Paulo, the Forma Furniture showroom (1987) in São Paulo and the Brazilian Sculpture Museum (1987-1992). Recent projects include a master plan for Vigo University in Galicia, Spain, and the Boulevard des Sports in Paris, a complex intended to receive the 2008 Olympic Games.

In 2006, Mendes da Rocha received the Pritzker Architecture Prize. The jury cited his “deep understanding of the poetics of space” and an “architecture of profound social engagement.”



Architect and Urbanist graduated from Mackenzie University in 1985, holder of the CAT Architecture office since 1995.

Project Professor at the Faculdade Escola da Cidade since 2011.

Scenographer of shows by theater director and choreographer Ivaldo Bertazzo, scenographer of several exhibitions held at Sesc in São Paulo.

She worked as a collaborator of the set designer Paulo Pederneiras.

Bia Lessa's collaborator since 2002.



Egberto Gismonti was born in 1947 in Carmo, Brazil. He began his formal music studies at the age of six. After studying classical piano for 15 years, he went to Paris to study with Nadia Boulanger (orchestration and analysis), and composer Jean Barraqué, a disciple of Schönberg and Webern.

Returning to Brazil, Gismonti began to glimpse a reality broader than that of classical music alone. He was attracted by Ravel's ideas of orchestration and chord voicings, as well as by choro, a Brazilian popular instrumental genre where varied kinds of guitars, reeds and percussion are featured. To play this music he made the transition from piano to guitar, beginning on the 6-string classical guitar and switching to the 8-string guitar in 1973. He spent two years experimenting with different tunings and searching for new sounds, which is also reflected in his use of flutes, kalimbas, sho, voice, bells, etc. By the early '70s, he had laid the groundwork for his current conception and was listening to musicians as wide-ranging as Django Reinhardt and Jimi Hendrix. For him, Hendrix's achievements were proof that “popular” and “serious” idioms need not remain opposite poles: “There's no difference between the two kinds of music..."

Brazilian composer, guitarist and pianis, Gismonti began to glimpse a reality broader than that of classical music alone. He was attracted by Ravel's ideas of orchestration and chord voicings, as well as by choro, a Brazilian popular instrumental genre where varied kinds of guitars, reeds and percussion are featured.



He is a set designer and director, with a track record of experimentalism and research, working with significant artists and directors of the contemporary scene, such as the director Bia Lessa: Exercício nº l, Os Possessos, Orlando, Cartas Portuguesas- for which he received the Association of Critics of São Paulo and Shell Award (1992);

He works with some directors:
- Enrique Diaz and Companhia dos Atores, in the Melodrama show - with nominations for the Shell and Mambembe Awards, Rio de Janeiro and São Paulo (1995-1996);
- Carla Camuratti: objects for the opera La Serva Padrona, Lenane's Beauty Queen, set design for the Cultura Inglesa Prize, 1999, and the stage set for the film Copacabana, award for best stage design at the Latin Film Festival, Miami (2002);
- Daniel Herz: Adultery, in 2011 and Absurdo, premiered in 2012 and O Pena do Rio, 2015, with Companhia dos Atores de Laura,  Tudo que há flora with Cia de Atores, text by Luiza Prado, Botequim Cultural Award best scenario 2016, Mozar and Salieri, opera by Rimsky Korsakov, Municipal Theater of Rio de Janeiro;

Founder, along with Guti Fraga, from the Nós do Morro Theater Group, in the community of Vidigal, in Rio de Janeiro, signing the direction and scenography of many shows.

He participated in the representation of Brazilian scenographers in the exhibition of “Espaço da Cena Latino Americana”, Latin American Memorial, São Paulo (1998) and Quadrennial of Scenography in Prague, Czech Republic (1999), Quadrennial of Scenography in Prague 2011 with scenography "As Centenárias" and the Quadrennial of Scenography of Prague of 2015



Associates & Staff

Cast: Caio Blat, Luiza Lemmertz, Luisa Arraes, Fábio Lago, José Maria Rodrigues, Balbino de Paula, Daniel Passi, Elias de Castro, Lucas Oranmian, Clara Lessa

Sound Track: Dany Roland

Costume: Sylvie Leblanc

Visual Recording: Roberto Pontes


Props: Fernando Mello Da Costa

Architecture: Camila Toledo| Colaboration: Paulo Mendes da Rocha

Light Design: Binho Schaefer e Bia Lessa

Sound Design: Fernando Henna and Daniel Turini


Sound Project: Marcio Pilot | Loudness

Director-Assistant: Bruno Siniscalchi

Assistant Director: Amália Lima

Executive Director: Maria Duarte

Executive Producer: Fabiana Comparato