Until the 60s, the box office was the main source of income of theatrical companies. The tradition of paying for access to culture existed even in groups with public or private funding, as was the case of TBC. It was there that, in 1948, Franco Zampari brought together São Paulo’s millionaires from the upper crust to invest in a repertorial theatre that offered non-interrupted payment for its artists and technicians. TBC’s constellation was formed by a generation that counted among them stars like Cacilda Becker, Adolpho Celi, Sérgio Cardoso, Paulo Autran, Tônia Carreiro, Cleyde Yáconis, Walmor Chagas – artists that left the creative cradle and went on to found many other companies, which were lead by these same stars. Since the late 50’s, young theatre companies arouse, like Teatro Oficina and Teatro de Arena, which had other creative structures and very different aesthetic languages, but the box office was still a source of income. In addition to being a key element of the budget, it is still the most direct method of attributing worth between artists and the public.