Regina is one of the pioneers in Brazil of site-specific work, usually in large formats. The cover photo is from her 1991 - The Divine Comedy - which brought together 146 performing artists, and 34 Visual artists, occupying the whole Rio de Janeiro Museum of Modern Art. Since then, Regina explored gardens, galleries, abandoned tenement houses, and more! A few examples portrayed here, include the emptied pool of the Visual Arts School of Lage Park, which was filled with sand for Orpheus (2005), and historic places, such as the old slavery port recent rediscovered, for the staging of her choreographic installations Black Market (2014) and Abolition (2015), Rio de Janeiro.
Aiming to sharpen the perception of what is informally created in urban spaces, and arising out of the desire to scape usual behaviors and street demarcations, by creating new paths and alternative behaviors, each of Miranda's performances propose a (dis)located body, a nomadic gaze and the construction of temporary schemes, meetings, losses, relationships, and symbolic exchanges. Their figurations announce other possible relationships between people and their surroundings, from a perspective that acknowledges and incorporates presences and absences as equally important events. By emphasizing discrete gestures and displacements, and incorporating the audience as informal performers, these works are presented not as a show, but as an event, which by at the moment of being lived, creates a space of otherness, and proposes the practice of freedom.