" In this well told tale, the sets by J.C.Serroni play a fundamental role. With enormous acrylic balls hanging above the stage, it transports you to a world where time and space does not matter. The performance is lyrical, playful and hilarious".
	Paulo Moraes - Folha de Londrina - June 1992
	" The emptiness of the stage, barely 'decorated' with acrylic bubbles, suggest a tale in vitro, a experiment in a theater thesis laboratory. The costumes look like engravings from old storybooks, in fainted colors - with a palpable and revealing dramatic language ".
	Macksen Luiz - Jornal do Brasil - March 1991
	" In the extremely beautiful scenic space created by J.C.Serroni , that often suggests a train station that have been abandoned for a long time, but sometimes seems to be something like a greenhouse, the actors from Macunaima evolve as if they belonged to a remote place in time, involved in a big bubble. This feeling of strangeness is kept during the whole performance".   Leonel Fisher - O Globo - May 1990

	"On the seventh floor in SESC Consolação there is an enchanting and enchanted spot. It seems to be a mechanic's workshop, but the tools are fabrics, plastic, threads, furniture, stuck in shelves with paper of all kinds (from large books to doodled scraps of paper) and lots of models sailing around. Letting the new story wander by the time of the old one, Serroni, the magician, created more than 30 transparent spheres and costumes inspired by the mummies from Guatanajato Museum and drawings of old dolls from old books".
	Cynthia de Almeida - O Papagaio - March 1991
	"Anchieta Theater is showing now a big esthetical novelty in the way of treating the costumes of the production. 'It's not cheap luxury made of velvet and lace' says Antunes, the director, 'but a whole mood of meanings, made out of new materials, illusionary sceneries and lighting, that gives it all a bigger touch of cinematography' he continues, excited. For him, this 'aura of sophistication' is the result of J.C.Serroni's geniality, his 'impressionist' way of working. J.C.Serroni is the third apex from the CPT's creativity".     Ricardo Voltolini - Jornal da Tarde - March 1988             "In Xica da Silva, the emphasis is given to the costumes and props. There is almost nothing of the colonial landscape or the wealth from the gold cycle anymore. On the stage are shown the enchanting forms of fakeness that we, Brazilians, pleaded our history of a stripped country with. We made a mystique out of defeats, covered violence with a fantasy of cordiality, disguised the poverty with a mischievous varnish. The scenography for Xica comes from there, covered by mist, which in reality is a trivial plastic curtain. Under brighter lights, the truth is revealed, and the court of Xica appears as it is - a confused band covered with scrap. Through this approach Serroni draws on the same surface the inside and the outside".     Mariângela Alves de Lima - Catalogue for Caracas Exposition - 1993         english   português

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