Patrícia Marjorie is a Brazilian Multidisciplinary Artist based in NYC with experience on different types and scopes of projects in theater. Director, Performer, Designer and Craft Master, Patrícia moved to NYC after 19 years of extensive work in theater productions in Brazil, where she got her Bachelor Degree in Performing Arts by Universidade de Brasília (UnB). Experienced executing measurable creative solutions in Arts, Design and interactive marketing for theatre, Patrícia's theatrical credits have included performing in classical plays like Shakespeare's Much Ado About Nothing (Brazil 2014), directing modern adaptations as Heiner Muller's "Hamlet- Machine" (Brazil 2001), and new works as "On how to Be a Monster" by Maria Luiza Muller with At Alia Theatre Company (NYU - Dec 2019); “What will Become of Kaaron” by Kaaron Briscoe (oct 2021) and her own work as a playwright "A Song to Keep the Wolves Awake” (Nov 2019) both at The Tank NYC.
Recent theater credits include scenic design for RE-MEMORI - of Hair Land & Sea (by Nambi E. Kelley dir. by Machel Ross); props for Wolf Play (Soho Rep, Ma-Yi Theater Company dir. by Dustin Wills), set associate & props designer for Song of Songs (Bushwick Starr & Jeremy O. Harris, El Puente, dir. Machel Ross), props for 7 Minutes (Waterwell dir by. Mei Ann Teo), costume designer and props for The Witches (Playwright Horizons School by Agnes Borinsky directed by Orion Johnstone); props and set dressing effects for Black Exhibition (Bushwick Starr, dir. Jeremy O. Harris), Preparedness (Bushwick Starr), SKiNFoLK (Bushwick Starr & National Black Theatre), scenic design for Addressless (Rattlestick Theatre), In the Southern Breeze (Rattlestick Theatre) and Lost & Found at a garage of 4 New York Plaza (dir. Meghan Finn - The Tank + En Garde Arts & Downtown Alliance). Recent interactive live performance credits include The Sunset PICNIC (The Tank) at Lincoln Tunnel's ramp and Carnavalize the Matter (TheatreLab).
I am a Multidisciplinary Theater Artist, working across playwriting, directing, scenic design and creative strategy. I am originally from Brazil, where physical resources, financial support and cultural initiatives are suppressed, I've worked to democratize art-making and break the myth that art is a hermetic, unbreakable conception. As a female immigrant artist from a developing, colonized country, I learned how to work with available resources. What has set me apart is my deeply rooted creativity, pragmatism, vision and solution-making, allowing me to mount lavish and critically acclaimed projects that have transformed artists and audiences alike.
My artistic interests surround a desire to connect individuals and create artistic experiences which spread social knowledge, turning those experiences into uplifting, community-centric learning opportunities. My work has become even more prescient during this pandemic recovery, when the need for human connection is intensely palpable.
My artistic goal is to continue developing a Theatre-making practice that transcends illustrative story-telling, using Theatre as a voice for marginalized and oppressed communities. By using Theater as a tool of socio-political excavation and evolution, I seek to question invisible oppressive systems, that communities most disadvantaged and historically excluded from the theatre may still not be aware of.
As a Multidisciplinary Artist, I am developing a sustainable production approach, day by day, aggressively targeting the use of upcycled goods and materials, that may have otherwise been disposed of as trash. Through my work, I demonstrate how recycled materials can become extremely valuable building elements: from the moment those goods are collected, how to treat them with care, imagination and creativity to actively transform them into meaningful artistic experience.
In my artistic point of view, the act of researching, finding and transforming discarded everyday materials into works of art provokes an intrinsic connection between people. By identifying and creating new possibilities using some of our world’s rampant waste, we are able to forge connections between people, question our preconceived notions of art making, dismantle antiquated belief-systems and elicit a sense of radical unity.