Giramundo has changed. An idea of a theater group that guided its activities for 30 years gave way in the 2000s to another order, a multimedia group, a puppet experimenter in money, and a research movement. After the transfer of its headquarters in 1999, with the departure of UFMG, the group became institutionalized and expanded its activities, opened its Museum, School and Student of Animation and incorporating a creation of products such as books, videos and toys.
Despite the great structural changes and aesthetic diagnostic changes in the last decade, an image of Giramundo as a classical group, attached to the interpretation of Brazilian culture, or of a scholarly nucleus of plastic artists in constant work manual for realization of artisanal and projected production, still remained. But an image of Giramundo as a group of wood carved by artisans has given way to a group that mixes belfry, cinema and design.
Experiences like Pinocchio, Alice, Twenty Thousand Leagues Underwater, Today is Maria’s Day, Ecological Miniteatro, Mobile Theater, Fantastic Mythology, Dango Balango, Giramundo Reconta and Walking Towers indicate that there is a new Giramundo in progress, unlike the university Giramundo, reinvented by creatures that he himself had begotten.
The group’s work trajectory demonstrates two paths that lead to the future: the expansion of the puppet approaches, on the one hand, and research on movement, on the other. The research center of Giramundo, or its current field of work, is bipolar. Beside the puppet, the movement, not always together. Everything that moves began to interest and cause contacts and intersections with new fields. The Giramundo is the resulting dynamic of these forces: an idea in movement.