Rádio Cultura AM – Situation Of the Project ...

Rádio Cultura AM – Situation Of the Project – part II


A question I think is of foremost importance and in a way is not mentioned, but which has to be made explicit as soon as possible is the management. I want this theatre to be managed by us from the Uzyna Uzona, with the advice of the whole Braziliantheatre. A council with the major names of the Brazilian theatre and with the objective to serve all Brazilian ensembles who want to make stadium theatre at this place. That means, it?s not a place to make shows as you have in the Moema district. It?s a place for a theatre which has developed a lot in the sixties but which has suffered a very strong repression and could not follow its natural way. This all we would already have in Brazil if it werent for the AI-5 [Institutional Act No. 5 which revoked civil and political rights during the military dictatorship]. So it?s necessary to recover the space which belongs to the theatre. Not a place for a boring big theatre, but for a theatre which works with music, dance, with all the space, with the circus, withanimals, with the trapeze, with the movies and with the theatre. I think this is the tendency of the total theatre. OK, the shopping centre is managed by the Silvio Santos Group, it has a commercial character. But the stadium theatre has to be managed bythe Uzyna Uzona, with a council of the most expressive names of the Brazilian theatre and culture, and it should be used by all Brazilian and international ensembles who wish to make stadium theatre. It has to be a place that privileges the theatre. Occasionally you may stage a show or something similar. But it?s not a place to stage a SBT [Sistema Brasileiro de Televisão] show. It?s not a place for sales, it?s a place for creation, which I believe will have a great economic value, and a great financial value as well. But it?s not a place for business to business. At least, it has to be a place for show-business. That means, the show, the theatre, the spectacle is more important than the business. Its it which will make the business. I think we are doing such a precious thing with “Os Sertões” that I believe in an absolutely crazy thing: I begin to see that its possible for us to make a revolution, and that someday – I dont know, I think first the Bush government has to fall – we will be presenting it on Broadway. I have the impression that we are creating a Brazilian musical which is completely different from the American musical but very strong and of great interest for the world. And this place here will contribute a lot for the growing of this Brazilianmusical. You know that when a musical succeeds in the United States its an investment. Fortunes are invested in it and it has an enormous economic value. I believe that theatre produces this economic value. You just need to have the conditions. Therefore, this place has to be managed in an unconventional way. There has to be a management where the cultural aspect is above the immediate profit concern. This is something I have to seriously discuss with Silvio Santos. Because if this doesnt happen, it?s going to be terrible. There will be shows all the time. Certainly we will work for a strong acoustic isolation between one stage and the other, so that sometimes we may perform on the two places simultaneously. But at the place they have put a series of trees in the middle. Only then the stadium begins. There is a separation. They say that we are still in discussions, but in my opinion this is a piece of work which cannot be build on talks, it has to be build on a common desire to do something really strong.Beginning by the name, stadium theatre – which was created by Oswald de Andrade and which was rediscovered by the Teatro Oficina – clearly the concept has always been an extension of the Oficina. A history of 25 years is there to prove this. You cant isolate one thing from the other. I dont agree with this. So much that on Sunday, which is my day off, I will stay home writing a text about the elements which I dont agree with and about the elements which I have to fight for.


Marilú: You mean its a process which still continues ?

Zé Celso: Its a process, but I believe it has already been achieved. I think this has not yet been understood by the financial executives, who have understanding difficulties. But Im absolutely sure that it has been understood by Silvio Santos, and thats why I make a point of meeting Silvio Santos again, so that we may talk about the management question. And that he comes forward to his executive team and declares: ?Be informed that the management belongs to Uzyna Uzona. This is for the Brazilian theatre, its for the international theatre. Its only for the theatre. Sometimes it will have an utilization which you executives wont understand from the economic point of view, as if this were about a factory. Its not. Its about something different, its about creation. Its about another way of thinking?. Otherwise it has no value, it wont mean a damn thing. Otherwise you wont have there, in that centre, a liberty of another quality than that which exists in the commerce surrounding it. And this liberty there in the centre will communicate – through the streets – with the other liberties for which I continue fighting for, the liberties of the small businesses of the Bixiga district. Its OK that there are the big businesses, but these mustnt necessarily liquidate the small ones. The street vendors are there to prove this, and not only them – you can seeit all over the world, the bakeries, the bistros in Paris, the specific charm of each place. For example here, right ahead, there is a marvellous Italian restaurant owned by Concheta, who is a beautiful woman, daughter of the founder of the Bixiga districtand who has two daughters who work in theatre – she has a very cosy and delicious restaurant. The shopping centre will bring along those franchised restaurants, those chain businesses of everything – there is a consumer public interested in this. But in our globalized world there is a growing interest for specific things, for the possibility to go to that one place which has a particular smell, a particular taste, the possibility to eat that particular delicious food; to go and fetch that clothing which that particular dressmaker knows how to make. All this should not get lost. This theatre represents this all. This theatre is to be as if it were an assembly. By the way, it may have this use. It may be used for assemblies by the inhabitants of Bixiga who want to work on behalf of their district ? in fact this will be inevitable, its an agorá [the marketplace of ancient Greek cities]. This is of utmost importance. And it has to be understood as follows: in the midst of the shopping centre, there is an islandwhich communicates – through various bridges – with this flourishing Bixiga, with all this wonderful people who mustnt be expelled from here. It?s obvious that the people who live in the street have to occupy houses and buildings which exist here. They have to lead a decent life, there is no sense in having these people living in the street. There arent too many of them, this problem is perfectly soluble. Its a problem which the occupation movement can solve, together with the municipality administration, to find an occupation for these people. Its absurd to see the Bixiga as a district with people living in the streets, because it?s a historical district with traditions, a bohemian district with a cultural life, where you can live an artists life. This district doesn?t have to bear this. There are very few street people, they could perfectly be given a home, and its also possible to give them the opportunity to learning.


One of the big losses wasthat of the synagogue. I wanted very much to make an university of the synagogue, but they have made an exchange with the Jewish people to move the synagogue to another place, and they are going to take the stained glass windows with them, which in my opinion are an important part the ?axé? of the synagogue [?axé? designates the magical foundation and the sacred objects of candomblé sanctuaries]. Sure, the ?axé? of the place will continue to exist and I would love to make an university at this place, but there is this decision of the Jewish community itself. Therefore I want Silvio Santos to build a bridge to another building he?s got ? he owns a lot of buildings there ? in order to install a school, a popular university of arts. An university of the Brazilian popular culture of mixed race. They tell me not to say this word, but I will do it: ?orgiastic?. Because I use the word ?orgiastic? not only in the sense of free sexuality, of free love, but also in the sense of mixing virtual technology with the worldtechnology which is the theatre, the mixing of everything with everything. In this sense I employ ?orgy?. But that doesn?t mean that I don?t employ it in the other sense, because the Oficina theatre has a great importance in the fight for sexual liberty, which today has turned into a political phenomenon in the world after the polemic created by gay marriage. Bush has gained a victory, and the world continues to struggle. In the Big Brother show there was that moment in which the guy assumed he was gay, and people demanded him to stay in the programme. So he continues in the show. It?s a political subject. The erotic liberty of each person is not only to be respected, it?s also to be encouraged. Because these people have grown up in a repressive society, so this work towards an erotic promotion in life is a political task of relevance. It?s embedded in this mixed race culture and may lead to a revolution all over the world. It?s not embedded in the capitalist culture, which culturally is very fragile; it?s moralist, it?s puritan, it?s excluding. What I mean is that the culture, the cinema, the literature of capitalism ? above all that of the North American capitalism – is made of nice heroes and bad characters, and there are always the chosen ones. It?s an uncouth culture compared to this mixed race culture, for example the world music, which is known all over the world, and which in fact is an ?anthropophagic? [cannibal-like] culture, it?s a culture of mixture, of liberty. All in all, it?s the total liberty of the people worldwide. A liberty that begins with the individual. Well, what we want to teach in this university has its origin in love, in the libido, beginning with the vowels, from a, e, i, u, óoooo ? because ?ó? is more open, and the purpose of life is pleasure. So it will be an university which will teach all techniques necessary to the art of theatre. It?s an university for the creation of a civilisation, a contribution to create a civilisation. Because the stadium can?t be understood if there isn?t a school to prepare people to exercise it, above all the common people, who are more close to the languages of the stadium theatre. People who are more likely to develop themselves in the circus, in dance, in the rituals of popular religions, as “umbanda? and ?candomblé?, and also carnival. That is to say, the music of it all. So I want a popular university, because I believe the strength both of the Oficina theatre as well as of its projection upon the stadium theatre are moments of the foremost importance.