Founded in 1958, Teatro Oficina went through the decades transforming itself in the present moment, both aesthetically and in the funding models of each era. The 60s were dominated by large audiences and Tuesday through Sunday shows in which the box office was the main source of income for artists and funding for shows. This cycle was interrupted by the military dictatorship that virtually criminalized the dramatic arts. The company was forced to go into exile in Europe and Africa and, upon its return to Brazil, encountered a completely different scenario for theatre. With no sponsorship and great vigor, several plays were staged that, although excellent, lacked technical and technological possibilities.

In 2005, Teatro Oficina Uzyna Uzona initiated a continual partnership with Petrobras, responsible for the sponsorship that provides maintenance of the companies headquarters and artistic core. Thanks to this sponsoring, the company was able to invest not only in equipment, sets and costumes for the productions, but also invest in its major capital: the actor, guaranteeing minimum conditions for their devotion to a continual theatre company.

In 2015, to celebrate a decade of sponsorship, the project carried out was OswaldianasTeato na Cidade Seca Sobre Rios, which consisted of three main branches: maintenance of the theatre; maintenance of the company’s artistic core; and the staging of the ritual-play “Mistérios Gozosos” (Joyful Mysteries), based on Oswald de Andrade’s poem “O Santeiro do Mangue”, by Zé Celso and Catherine Hirsch.

The mysteries of delight are urgent political and affective actions, this at a time of crisis when tension, anxiety and depression take over everything. To cross them, we must undertake a moist search, a TragiComic Orgiastic attitude, without ignoring for even a fraction of a minute the gravity of the situation. Crises beseech humor, love and much more in order to solve the problems at their root. That and extremely sensitive antennae.

 

3rd Dentition – 2016 – Teacher Training

Teatro Oficina Uzyna Uzona’s project for 2016, still in its recruitment stage, is a partnership with Petrobras aimed at maintaining the headquarters and the transdisciplinary artistic core that operates in this space, an inseparable work between architecture and performance.

The third dentition of the Anthropophagic University aims at operating within this space and at refining techniques in acting, dancing, singing, visual arts, video, costume design, directing, architecture and urban planning for the stage, politics, communication and philosophy, anchored in anthropophagy – one of the guidelines and also a concrete action towards all catastrophes in the age of the Anthropocene.

After the first two dentitions of the University, for which we held an open call for recruitment, and also after actions held by the groups of knowledge extensions for Anthropophagic transdisciplinary thought – Convênio Exemplar, X Bienal de Arquitetura and Terreyro Choreográfico –, the work has evolved and, for this third dentition, there will not be another open call. Faculty and student body will be composed by both the Company’s team members who have worked with the group for a long time and those who joined in after the open calls of the first and second dentitions. This project will focus on developing our work, as has always been the case, but also on enhancing our practice of knowledge transmission – a Master’s Degree of sorts in which artists, beyond the development of the Company’s aesthetic guidelines, will develop the ability to pass on that same knowledge.

The total amount of the sponsorship contract will be of R$ 800,000.00 (approximately USD$ 230,000.00).

All of the work that is planned to be carried out with Petrobras’ funding will cover six months of 2016, from June to December, and it includes:

1) Company’s headquarters maintenance

Duration: 6 months

Total amount: R$ 124,500.00 (approximately USD$ 36,000.00)

– Repair of damaged costumes, and stage and scenic architecture props;

– Cleaning, maintenance and repair of equipment;

– Structural repair at the headquarters;

– Leasing of production offices and warehouses, plus expenses.

2) Maintaining the Company’s artistic core, composed of 40 people

Duration: 6 months

Total amount: R$ 589,290.00 (approximately USD$ 170,000.00)

– Conduct daily body, vocal and performing studies and training, along with TV Uzyna’s cameras, all for the development and continuity of the Company’s language;

– Create studios for experimenting with techniques in performance, acting, dance, music, scenic architecture, video, lighting, costume design, sound engineering and sound design;

– Media relations and development of the Company’s strategy for announcing and promulgating its repertoire;

– Project formatting;

– General planning, production mapping for the year and fundraising.

3) Seminars, activities open to the public, publications

Duration: 6 months

Total amount: R$ 86,210.00 (approximately USD$ 25,000.00)

– 8 seminars – ritual-gatherings for the exchange of knowledge in all fields of the dramatic arts, inspired by Anthropophagy. The curatorship of the themes and the teachers of the seminars will also be linked to the Company’s preparation and staging in progress, and it will be carried out by each field of the Anthropophagic University, resulting in eight seminars in the areas of: acting, architecture and urban planning for the stage; music; lighting; sound design and sound engineering; film and video; stage management and communication.

– New edition of the newspaper “A Bigorna” (The Anvil), filled with content generated in the seminars, with a circulation of 1,000 copies, distributed for free in schools, libraries, theatre companies, and study groups.

The following works and projects were carried out with the support from Petrobras:

. 2005 – “Os Sertões – A Luta I”; by Euclides da Cunha (Rebellion in the Backlands – The Fight I)

. 2006 – “Os Sertões – A Luta II”; by Euclides da Cunha (Rebellion in the Backlands – The Fight II)

. 2007 – “Os Sertões – A Terra, O Homem I – do pré-homem à revolta; O Homem II – da revolta ao trans-homem; A Luta I; A Luta II” –tickets at cost for a run of the 5 part shows in São Paulo, Salvador, Recife, Rio de Janeiro and Canudos, with the recording and release of the DVDs (Rebellion in the Backlands – The Earth; The Man I – from pre-man to revolt; The Man II – from revolt to trans-man; The Fight I; The Fight II)

. 2008 – “Os Bandidos” (The Robbers), by Schiller;

. 2009 – “Cacilda !! – Estrela Brazyleira a Vagar”, by Zé Celso;

. 2010 – film editing of the DVDs for the launching of the Company’s 50th anniversary box: “Os Bandidos”, “Cypriano y Chantalan”, “Vento forte para um papagaio subir”, “Taniko”

. 2011 – “Macumba Antropófaga”, by Zé Celso, based on Oswald de Andrade’s “Manifesto Antropófago” (Anthropophagous Voodoo / Anthropophagous Manifesto)

. 2012 – “Acordes”; by Bertolt Brecht

. 2013 – “Cacilda !!! – Glória no TBC” and “68 AquiAgora”; by Zé Celso

. 2014 – “Cacilda !!!!! – A rainha decapitada”, by Zé Celso

. 2015 – “Oswaldianas – Teato na Cidade Seca Sobre Rios”

Thanks to the sponsor and partnership of Petrobras, these works were created during the Company’s uninterrupted creative process carried out at its headquarters at Rua Jaceguai, and they were able to reach other parts of Brazil and the world. In most of them, there was more to it than the dramatic arts’ work, such as an approximation of Scenic Architecture and Urban Architectural art work, created by Lina Bardi (Teatro Oficina’s 3rd headquarters): Terreiro Elektrônico is always recreated, for the most distinct spaces, by Scenic Architects Oswaldo Gabrieli Cristiane Cortilio, Marilia Gallmeister and Carila Matzenbacher; and also Uzyna Uzona workshops for the dissemination of the Company’s creative practices and methods, alongside artists of other cities.

The partnership between Petrobras and Teatro Oficina enabled the Company to achieve the following goals:

  • artistic structuring;
  • professionalization;
  • composition of a national anthropophagic repertoire;

staging of musical choral performances – Carnaval Operas nationally and internationally renowned for their specificity and originality.