Ines Bushatsky is a theater and opera director. Since 2015, she has run the Extemporânea company, of which she was one of the founders. With the company, she directed the plays Ox Dementia (2017), B for Beatriz Silveira (2021), The Cinematic Mystery of Sendras Berloni (2022), Dr. Anti (2022), We’ll call you, Laura (2024), King Lear (2024, winner of Best Actor Shell prize), When we are when (2025, nominated for Best Cast for APCA prize) and Macbeth (2026). The latter two, a production of Shakespeare's classic with an all-drag-queen cast, were praised by audiences and critics. In opera, she directed the Lyric Composition Atelier at Theatro São Pedro in 2023. In 2024, she signed the scenic direction of the operas La Chanson de Fortunio and Mesdames de la Halle, by Offenbach, and in 2025, Paisiello’s Il Barbiere di Siviglia, all at Theatro São Pedro. In 2026, she was a stage direction resident at Deutsche Oper Berlin, assisting in the production of Lortzing’s Zar und Zimmermann.
Working at the intersection between theater and cinema, 2021 she founded the F for fake research group, which aimed at creating new plays based on artistic-pedagogical procedures on the concepts of fake and forgery. In addition to her work as a director, Ines is a researcher in the field of Theater and Education and holds a PhD in Performing Arts from ECA-USP.
Paulo Bio Toledo
Folha de S. Paulo
“The production directed by Ines Bushatsky at Sesc Consolação is a profoundly "Elizabethan" show — that is, it comes admirably close to the theatrical forms practiced in Shakespeare's time. The show contrasts celebration and melancholy, respecting Shakespeare’s literary greatness and particular theatricality.”
Bob Sousa
in Focus
“The production, by Ines Bushatsky, is a visually stunning spectacle and an aesthetic/political manifesto, which reaffirms the relevance and transgressive power of theater.”
Leonardo Simões
Newspaper Note
“King Lear” talks about rejected characters, bastard children, madmen and blind people. By placing the map of Brazil in the center of the stage, illustrating the kingdom to be torn apart, Ines Bushatsky makes another wonderful inflection, as Brazil has never been so divided.
Fernando Pivotto
Everything But a Review
“The intersection between theater stage and nightclub stage proposed in King Lear by Bushatsky and Mostazo not only highlights the artistic character of drag performance, and the texture of this art, but also takes Shakespeare away from the mistaken understanding that it is necessary to stage it with phlegm and mesoclisis: Shakespeare is popular in his language, in his format and in what he carries with him as sublime and mundane. Just like drag.”
Bob Sousa
in Focus
“The production of “King Lear” by Cia. Extemporânea, directed by Ines Bushatsky, at Teatro Anchieta - Sesc Consolação, reveals a fascinating intersection between Shakespearean tragedy and drag queen art, creating a rich and multidimensional visual narrative that challenges and subverts, through its allegory, aesthetic and gender conventions.”
Leonardo Simões Newspaper Note
“The genius of Ines Bushatsky's production is using drag art to highlight that the most important thing is in the representation itself: today, a theater character can be played by any artist. “
Fernando Pivotto
Everything But a Review
“The doubles game that Bushatsky and Mostazo are so skilled at is established. Apparently (but only apparently), the Shakespearean tragedy is diluted, presented as if it were a nightclub show fogged by smoke machines, illuminated by club lights, performed for the entertainment of those present.”
Mariana Agunzi - Folha de S. Paulo
“The editing evokes laughter, shock and reflections and makes the violence evident. By staining its characters with blood, the play refers to the growing political violence in recent years in Brazil. "Dr. Anti" is clever, indigestible and acidic.”de sangue seus personagens, a peça remete à violência política crescente nos últimos anos no Brasil. "Dr. Anti" é sagaz, indigesta e ácida."
