Caravana

There is a caravan parked on an empty plot of land on a farm. Crickets can be heard, an owl. The dark night is punctuated by fireflies. The moon is in its last quarter. Could it be the four phases of the moon that poetically entitle the four acts of the play, marking the time of action and the psychological evolution of four characters, identified only by their gender: He, the solitary inhabitant of the caravan, and three unknown women, She, the Prostitute and the Woman, whom He brings for fleeting nocturnal encounters in his caravan. The short dialogues of seduction games, in which the characters seek to know each other and also hide from each other, unfold in an atmosphere of mystery that, from moon to moon, gradually reveal heartaches and strategies for emotional survival. Is the caravan a temporary shelter, a cocoon, a home, where a new life is rehearsed? In Caravana, João Luís Barreto Guimarães constructs a plot with moments of closeness and distance, doubt and uncertainty, that calls upon us to discover what lies hidden behind the masks of the characters.