PATRICIA MARJORIE .
NEW YORK . BRAZIL . MULTIDISCIPLINARY ARTIST
Patrícia Marjorie is a Brazilian Multidisciplinary Theatre Artist based in NYC with experience on different types and scopes of projects in theater. Director, Performer, Costume Designer and educator, 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 works: costume designer for “Good Luck in Space” by Greg Kotis at Manhattan School of Music; props designer for “Reconstructing” at BAM directed by Rachel Chavkin & Zhailon Levingston. Scenic and Costume designer for; “Primordial” at The Tank and ”The Lydian Gale Parr” at Target Margin both directed by Meghan Finn; costume for “PUSH PARTY” by Nia Akilah Robinson; props for “Wolf Play” directed by Dustin Wills at MCC and Soho Rep; “YOU WILL GET SICK” directed by Sam Pinkelton at Roundabout; “Flex” directed by Lileana Blain-Cruz at Lincoln Center Theatre.; “Ulysses” and “The Seagull” by Elevator Repair Service; “Black Exhibition” by Jeremy O. Harris dir by Machel Ross. Patricia has also recently Performed on - “Mrs. Loman” directed by Meghan Finn (Theatre Row) and directed “A Song called Primavera" past august in Brasilia - Brazil.
ARTIST STATEMENT
I am a multidisciplinary theater artist working across playwriting, directing, design, performance, and creative strategy. Originally from Brazil—where physical resources, financial support, and cultural initiatives are often suppressed—I strive to democratize art-making and dismantle the myth that art is a hermetic, unattainable concept. What sets me apart is my deeply rooted creativity, pragmatism, vision, and problem-solving mindset, which have allowed me to mount lavish and critically acclaimed projects that have transformed both artists and audiences.
As a female immigrant artist from a developing, colonized country, my work is driven by a desire to connect individuals and create artistic experiences that foster social understanding—transforming them into uplifting, community-centric learning opportunities.
My artistic goal is to continue developing a theater-making practice that transcends illustrative storytelling, using theater as a voice for marginalized and oppressed communities. Through this lens, I aim to use theater as a tool of socio-political excavation and transformation—questioning the invisible systems of oppression that often go unrecognized, especially by those most historically excluded from the theater.
Coming from a place where resources are scarce, I’ve learned to embrace a sustainable, resourceful approach to production. I focus on reusing and repurposing available materials—aggressively targeting the use of upcycled goods that might otherwise be discarded. To me, the act of researching, sourcing, and transforming everyday waste into works of art fosters an intrinsic connection between people. By redefining what materials—and, by extension, what voices—are considered valuable, we challenge outdated notions of art-making, dismantle rigid belief systems, and inspire a radical sense of unity.
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.