EDINBURGH 2026: São Paulo Showcase Guest Blog
The 2026 Edinburgh Festival Fringe starts 7 August
Back in Edinburgh: São Paulo Showcase takes eight shows to Fringe
By Bruno Palma Fernandes
I am passionate about São Paulo. I know, I’m biased—I was born and raised here—but I’ll try to explain why this place is so special. We are a population of over 45 million, with people from all over Brazil and the world. There is a multitude of languages, accents, stories, and worldviews. We have beaches, the countryside, and the vibrant metropolis that is the city of São Paulo itself. It is this diversity that captivates not only me but also those who live here or visit us. It is truly impressive. The São Paulo Showcase returns to the Edinburgh Festival Fringe for the second year running, bringing a programme of eight productions.
This initiative by the São Paulo State Government—through the State Secretariat for Culture, Economy, and Creative Industries—offers an excellent opportunity for our artists in many ways: they perform for international audiences, gain new insights by interacting with companies from other parts of the world, and build vital networks with curators and programmers from major festivals and arts venues, to name just a few benefits. Yet, the project also represents an opportunity for Fringe audiences to fall in love with São Paulo. And that is certainly one of our major goals.
Naturally, diversity is the defining characteristic of the São Paulo Showcase in 2026. The human body, for instance, is the central focus of shows such as monologue 116 Grams: a Play to Lose Weight, the contemporary urban dance piece Border Bodies, and the circus solo Vidrado. While the subject matter is the same, the perspectives are highly distinct; the crushing imposition of beauty standards, the infinite possibilities found in human connection, and the constant quest to surpass our own limitations.
Lighter shows—such as the dreamlike Circo Valise, in which a charming lady elephant transports audiences to a world of dreams and imagination—contrast with weightier productions. These include Whale Fall or Song to Dance With My Death, which tackles one of life’s greatest taboos—death itself—and The Last Drop, a performance where tension and acerbic humor drive a plot exploring themes like the chaotic growth of major cities and revenge.
There is also room for poetry in One Million Words, inspired by the Czech poet Rainer Maria Rilke (who passed away a century ago), as well as for soccer, samba, and bohemian life in Dribble — an exploration of the beauty of the game, alongside the historic connections between Brazil and Scotland. Charles Miller, the son of a Scotsman, brought a soccer ball and the rules behind football to Brazil; a game that now stirs our national passions deeply. (No, we didn’t fare very well in the last World Cup. But we remain the only five-time champions, and we take great pride in that.)
I am thrilled about our return to Edinburgh. Alongside home, I have fallen in love with this city as well, a place which truly lives and breathes culture. It is also important to remember that none of this would be possible without the talented team of professionals at APAA and the help of exceptionally generous individuals—such as Ellinor Firstorp, International Engagement Coordinator for the Fringe—and representatives from other showcases, notably Jih Wen, who is responsible for the brilliant Taiwan Season. I am certain it will be a wonderful festival and that São Paulo will capture the audience’s hearts. See you at Assembly, Dance Base,Pleasance, Summerhall, St. Cuthbert’s Church, Underbelly, or Zoo. Finally, as we say around here: merda!
Photo credit: Adriano Escanhuela
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