We sat down with director and producer Flavia D’Avila of La Niña Barro – created from introspective poems written by Spanish writer Marta Massé. It explores the experience and feelings of a woman made from mud; probing how she feels about and relates to herself, earth, nature, life, and love through a raw and intimate mix of skilled Mbira (traditional Zimbabwean thumb piano) music, moving spoken word, and deeply felt physical theatre.
1.Tell us about how Fronteiras Theatre Lab started.
I think the seed of the idea for the company began quite early in my career, when I was still at uni. I had the opportunity to do some work with Brazilian dancer/choreographer Augusto Omolù when he led a residency in Bristol in 2007. I remember Augusto asked me what kind of theatre I wanted to make and I had no idea, I was just at the end of my first year. Then he asked me about my move to Scotland and about where in Brazil I’d come from, so I talked at length about the mad place where I grew up, which is rather unique. It sits right on the border between Brazil and Uruguay, but the two towns completely merge together into one, it’s like there is no border. But at the same time, there are clear differences. He then introduced me to the concept of Theatre Anthropology and suggested I explore that in relation to where I’d come from. I didn’t actually set up the company until 2012, after coming back from doing some training with the Odin Teatret in Denmark, where Augusto also worked, and where I first met Elizabeth, one of the performers and my co-conspirator in ‘La Niña Barro’.
FTL debuted at the Edinburgh Fringe 2012 with a wee show called ‘Theatre Tasters’, showcasing short plays by writers from various countries, featuring an international and multilingual cast, presented as a set menu: a ‘starter’ play, a ‘main course’ play, and a ‘dessert’ play. Then in 2013, I took a bunch of Scottish-based actors to my hometown(s) in South America to see where the whole thing came from and create a site-specific piece on the borderline between Brazil and Uruguay. There’s a documentary about that project, Fronteiras Explorerss, here if anyone is interested.
2. What inspired you to create La Niña Barro? Did Marta’s poetry come before or after the show’s initial inception?
The poems came first. I met Marta in Edinburgh in 2012 when we were both working for one of the walking tours companies in the Old Town.
One day, discussing our respective creative work outside of the dayjob, she told me she was a poet. I like poetry, so I asked if I could read some, and she sent me her blog. There was this recurring character of a girl made of clay and I immediately connected with her. I felt they were incredibly moving and visceral. She has something quite raw about her, she has the capacity to reach deep within people. Marta herself has said she doesn’t fully understand La Niña Barro, but she welcomes her presence and simply lets her out when she manifests.
I didn’t think of doing anything with the poems until after the Fronteiras Explorers project, and it happened in two parts. One was during the project debrief when I was asking the actors what they wanted to do next and Eli said she wanted a personal challenge, a passion project to work on. Another was being invited to a poetry club event while I was still in my hometown and deciding to read one of Marta’s poems there. When I first read it out loud was when I saw the potential for staging them, so I asked Marta if she’d let me have a play around with the idea. She agreed, I sent the poems to Eli, who had that same visceral reaction, and it all evolved from there.
3. The show is very multilayered. What would you like audiences to take from it?
I recently had a conversation about this with the team, and it’s interesting to see that we all have a slightly different take on it. I would like people to feel like the show was a space for contemplation and self-reflection, which is similar to what Marta said. Eli and Alex (Rodes, the other performer) want the audience to experience an emotional journey together with the characters. I like that Alex in particular said she doesn’t personally think it’s useful to focus on specific messages or teachings, that what we are doing is simply offering a viewpoint on the old nature vs nurture dichotomy, and you don’t have to pick a side, just let yourself be overcome with whatever sensations come to you.
4. How have international stages recieved La Niña Barro so far? Do you have any landmark events or accomplishments you’re particularly proud of over the last decade?
There’s quite a few, actually. It’s funny that we had trouble with the premiere in Edinburgh in 2014 because of Eli’s nudity, and a couple of months later we were performing it outdoors on the street in Spain, as part of a contemporary performance festival called Raspalloc. There was this other festival in a small town called Ontinyent, also in Spain, where we did the show in this elderly silversmith’s workshop in the back of his house. He was in his 90s, didn’t even had a landline, and agreed to let this festival use his space as a venue!
Performing in my hometown in a decommissioned train station was amazing, and of course, winning the Impact Award at the Small-Scale Theatre Festival of Miami!
Taking it to Madrid, when we appeared on the cover of the Godoff Magazine, and when Marta saw the show for the first time was quite special. I should say, I didn’t see that one – in fact, Edinburgh is going to be the first time Marta and I will see it together!
5. How does it feel to be returning to Scotland?
Well, I am based in Edinburgh and have been doing other work here since LNB. But bringing this show back this year just feels… right.
6. You’ve described the show’s 10-year journey so far as ‘a deeply personal, heartfelt project’ for the whole creative team. What do you see for the future of La Niña Barro?
We are planning more performances in mainland Europe this year, take her for another spin around Spain and see if we can reach new audiences in countries she hasn’t been to yet. We’ve been in talks with venues in France and are looking at opportunities in Italy and Scandinavia too. One big thing we’re working towards is a publication to celebrate the 10 years, with photos of the show throughout this decade, some of my original devising notes, Marta’s original poems, and essays from the team on our artistic processes. Hopefully, we’ll manage to put it together for early 2025!
Tickets here