“There is therefore a language III, which no longer relates language to enumerable or combinable objects, nor to transmitting voices, but to immanent limits that are ceaselessly displaced-hiatuses, holes or tears that we would never notice, or would attribute to mere tiredness, if they did not suddenly widen in such a way as to receive something from the outside or from elsewhere. 'Blanks for when words gone.”

Gilles Deleuze

Reviewing the brief, but powerful group trajectory, maybe we can point out the paths that guide these young artists for a coherent path that had begun with the difference and autism, it passed through the study of memory and now come to a space on equality, the double and geminility (theme of its next spectacle).

The chosen name by the group – Hiato (Hiatus) – now gives us traces of their artistic choices and justifies the continued research of new dramaturgies and scenic forms that raise questions about the "difference", ways of reality perception, the lacuna among experience, language and multiplicity of perspectives constitute our conscience, in other words, our invention of a cohesive and singular self.

The spectacles created by the group rise from very personal questions: "what is the distance between what I say and what you understand/want to of what I have said? What is the size of the lacuna existent between my experience and the language? What can I express of my experience?" And, to answer those questions we have to consider that there are different forms of perceiving the world beyond the norm. It makes us regress more and ask: How can perception of the world, behavior, and ways of thinking be considered appropriate or inappropriate if they are unique? The Companhia Hiato believes transforming those questions into creative process is a way, more than answering, shares such uncertainness.

In "Cachorro Morto" – 2007 (Dead Dog), the group arose from the director's personal experience and found on autism and Asperger syndrome a starting-point to question different ways of world apprehension. Diving into the mathematical ratiocination took to stages – with public and critics recognition – an "involving, creative, funny story, without fussiness treating with amplitude and intelligence a delicate theme" (Veja São Paulo Magazine).

The theatrical critic (Folha de São Paulo Newspaper) Luiz Fernando Ramos says about the first spectacle created by those young artists: "Leonardo Moreira has been interested in bringing the autism universe to scene and absolutely did it. Somehow, even in references collage and counting on actors' active participation, he reveals a dramatist talent that promises a lot in this combination with director function. The actors in turn, reached a homogeneous pattern without which it would not be possible the constant narrative voice dynamics evolution. (…) It is not every day that a so correlative magical word among numbers, colors, morality, and time shows up".

This spectacle premiered in early 2008, in SESC Avenida Paulista. With sold out tickets and excellent critics (being recommended by Veja São Paulo and Folha de São Paulo), had its season extended. Following Leonardo Moreira is indicated as one of "new highlighted authors in São Paulo scene" (Ilustrada – Folha de São Paulo); Dead Dog is elected by Veja São Paulo one of the ten best plays showing in the city. The criticism of the Estado de São Paulo newspaper affirms that Dead Dog "uses new language to translate another way of being in the world" and recommend the show as "instigative from first to last". Leonardo Moreira is indicated as one of the "directors to keep an eye on" in that newspaper evaluation column and the cast receives the assessment "high ten" in the same column. Concurrently to this recognition, the play starts a sequence of presentations by SESC São Paulo and receives two predictions for FEMSA Award for Theater 2009 (Prêmio FEMSA de Teatro 2009) (including Best Youth Play).

Coherently, the group formalizes an artistic research project that ever parts of study and comprehension of other ways of thinking. The second step in the long path proposed by these young artists was the production of Escuro (Dark) in which the deficiency served as a metaphor for the lack of dialogue. The spectacle has not showed the "different", not even looking for the public social sensitization on the difference. On the contrary, the play intended telling a story about common people, their inadequacy, their language, hiatus between their relationships and looks around them, asking how possibilities of human knowledge of the world were organized in the mankind or how brain processes knowledge and perception of reality.

The spectacle premiered in November of 2009 at SESC Pompeia, after fifteen months of rehearsals and studies. With text of Escuro (Dark), Leonardo Moreira won the "Incentive to New Texts Award of Secretariat of Culture of São Paulo 2009". Furthermore, the spectacle is ranked among the "Best Plays showing" of Guia da Folha, among "Recommended plays" of Guia do Estado and "Top Ten Plays Showing" of Veja São Paulo.

The critic of Folha de São Paulo (December/2009) points out that "Leonardo Moreira is a revelation that had already been announced earlier in his spectacle 'Cachorro Morto' (Dead Dog). (...) Escuro (Dark) marks the maturity of a talented young narrator. One who unites actor and dramatist engines with director clairvoyance. Leonardo Moreira is a promise, and with the cast, he has the merit of having created an unmissable work". Also, the journalist Nelson de Sá (Cacilda Blog – Folha de São Paulo / December 2009) states, "The young author Leonardo Moreira knows how to write for theater. His artful and intricate plot refers to American independent cinema; situations – that create and recreates nonstop – instigate and entertain. The exposure of misfits, the strangeness, the dumb and naive, of stutterers and twangs, everything indicates a genuine sensitivity, an artist look of the proper existence. And his direction points to the risk, and results in simplicity and inventiveness, with great finds."

Later that year, Leonardo Moreira appears as Theatrical Revelation on site Colherada Cultural and their two spectacles are present in the lists of the best plays of 2009 sites: Folha Online Guide – UOL; Lucas Mayor, Cacilda Blog – Folha Online, and Gazeta da Manhã. The spectacle is invited to participate in Official Exhibition of Curitiba Festival 2010. Finally, the play is leader in nominations for main 2010 awards: one nomination for CPT Award 2009 (Outstanding Theatrical Author), five nominations for Shell Award 2010 (Outstanding Author, Outstanding Director, Outstanding Set Design, Outstanding Actress and Outstanding Costume Design | Awarded: Author, Costume, Set), five nominations for CPT Award 2010 (Outstanding Play, Outstanding Author, Outstanding Director, Outstanding Visual Design, Revelation Company | Awarded: Outstanding Play).

The third Company Hiato spectacle was O Jardim (The Garden). Dealing with lost memories (the study of Alzheimer's disease and loss of memory loss associated with aging), perennial memories (non-forgetfulness), and invented memories (a schizophrenic's notebooks as material for poetic creation), the play premiered in May of 2011 (with support of the Theater Fomentation, after 13 months of research). The play threw a youthful look about the memories fragility that we invent, stories do not abandon us, what we lost along the way, what we have collected in our most secret boxes. After a season in São Paulo, a short passing in Rio de Janeiro, and some festivals (Recife and Brasilia), the spectacle appeared on all lists of Best Showing Plays in Sao Paulo press. It has been described as a "memorable" spectacle (Bravo!) and Leonardo Moreira was described as "the most promising name of today" (Veja São Paulo). The play won the Governor of State Award and Leonardo Moreira won the APCA Award for directing and his work still collect other 18 nominations for the most respected awards in the country.

In the last creative incursion called Ficção(Fiction) the Company verticalizes last researches pointed in the last Company's spectacle The Garden about documentary theater "mocumentaries" (documentaries of mockup, in other words, fiction that assumes a documentary format) and confessional dramaturgies.

Associated with a dramaturgical thought, in which each artist is also author of his/her solo, Fiction is a play in six parts: six occupancy experiments (or short spectacles) occupying the same scenic space at different times creating several fictional contexts for the same space. The artists (Aline Filócomo, Fernanda Stefanski, Luciana Paes, Maria Amélia Farah, Paula Picarelli and Thiago Amaral) conduct a performance / short monologue from their biographical narration about "duplicity" – not only a self-portrait, but also a "double portrait". The title of each solo is the real artist name (not a fictional name). From those biographical narrations, dramaturgical installations and scenic on questions about the need for fiction and our inability to abandon it are created dissecting in scene in a scenic process and exposing the limits (or intersections) between life and artistic creation. Centered in the artists relations with their families (with the presence of real parents and siblings), fictional testimonies are presented in which the ideas of "intimacy" and "document" are inseparable.

Not only theme and language chosen for three shows attest the permanence and relevance of this recent group, but also emphasize the unit in the way that such plays were created: the creation is always collaborative. The starting-point of each play is developed through rehearsals and studies involving improvisation, arguments, writing, rewriting, despair, and hope. The result on the scene represents the hard work of many people over these two years. Always a work in process – in each presentation, the plays are reviewed and influenced by different audiences. Every change, the replacement of some artist, new technicians or new spaces, discoveries that emerge, new directions are pointed out. In this way, the plays eventually become meeting and departure points, destinations – we might even say that become "places" where stories and inexperience are shared.

It is too early to point certainties or theories about the new work on a so recent but consistent group. Maybe the only certainty is what move them continuing work together, asking the same questions together is the dive without fears into new and unexpected, lending their questions to dramaturgy, their names to characters, their personal experiences to creation, their lives to fiction.