RáDIO CULTURA AM - SITUATION OF THE PROJECT - PART II

24/01/2005

THE MANAGEMENT – A QUESTION TO BE DEFINED SOONEST

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 weren’t 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. It’s 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 it’s possible for us to make a revolution, and that someday – I don’t 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 it’s 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 doesn’t 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 can’t isolate one thing from the other. I don’t 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 don’t agree with and about the elements which I have to fight for.

THE SPECIFIC CULTURES OF THE BIXIGA DISTRICT AND BRAZIL
ITS IMPORTANCE FOR THE GLOBALIZED WORLD OF TODAY

Marilú: You mean it’s a process which still continues ?

Zé Celso: It’s 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 I’m absolutely sure that it has been understood by Silvio Santos, and that’s 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, it’s for the international theatre. It’s only for the theatre. Sometimes it will have an utilization which you executives won’t understand from the economic point of view, as if this were about a factory. It’s not. It’s about something different, it’s about creation. It’s about another way of thinking?. Otherwise it has no value, it won’t mean a damn thing. Otherwise you won’t 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. It’s OK that there are the big businesses, but these mustn’t 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, it’s 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 mustn’t 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 aren’t too many of them, this problem is perfectly soluble. It’s a problem which the occupation movement can solve, together with the municipality administration, to find an occupation for these people. It’s 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 it’s also possible to give them the opportunity to learning.

THE POPULAR UNIVERSITY OF BRAZILIAN ORGIASTIC CULTURE

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.

NOTÍCIAS RELACIONADAS

– 07/05/2012 Os cinco filmes de Os Sertões são exibidos em Recife.
– 01/05/2012 Sinopse e Histórico da Macumba Antropófaga 2012
– 26/04/2012 Ficha Técnica da Macumba Antropófaga 2012
– 30/03/2012 Paulo Francis escreve sobre hoje, de 20 anos atrás
– 21/03/2012 Lina Bardi 20 anos da Ethernidade
– 20/03/2012 Carta de Zé a Dilma, Lula e Haddad
– 16/03/2012 Morre Aziz Ab'Saber
– 05/03/2012 Heitor Villa-Lobos completaria 125 anos hoje!
– 15/02/2012 Cabaret Volant
– 07/02/2012 Programação cultural do Pindorama Circus começa no Oficina.
– 06/02/2012 Email de Vera Barreto Leite a Zé e Ito
– 01/02/2012 Começa o Pindorama Circus no Oficina.
– 06/01/2012 Semeadura da Macumba dá florada
– 04/01/2012 Ficha Técnica de Bacantes - Europa
– 17/12/2011 Vinho em Bacantes
– 10/12/2011 Zé Celso participa de ato público em defesa da Cultura no Congresso
– 29/11/2011 Últimas semanas de "O Assassinato do Anão do Caralho Grande".
– 18/11/2011 Evoé - Retrato de um Antropófago
– 25/10/2011 Gravação do DVD da Macumba!
– 18/10/2011 Últimas sessões da Macumba Antropófaga
– 16/08/2011 É hoje! Aniversário do Teatro Oficina.
– 16/08/2011 Teatro Oficina ganha Neon com letra de Lina Bo Bardi
– 16/08/2011 Recado de aniversário para o Bixiga.
– 08/08/2011 Noitada de 16 de agosto de 2011 no Oficina.
– 18/07/2011 Anna de Holanda homologa Tombamento do Oficina
– 03/07/2011 Brasil recebe prêmio máximo em Praga, com contribuição do Oficina Uzyna Uzona
– 01/07/2011 Noitada de 24 de junho: como foi
– 17/06/2011 Relação dos convocados
– 17/06/2011 Folha de São Paulo no Bloomsday
– 24/05/2011 CHEGA !!! Nossa produtora Ana Rúbia dá o grito
– 23/05/2011 Oficina chama autoridades para "Noitada"
– 13/05/2011 Esclarecimentos sobre o encontro com Ana de Holanda e as matérias publicadas
– 04/05/2011 Treze meses de paixão
– 04/05/2011 Universidade Antropófaga Brazyleira
– 04/05/2011 Carta ao Ministro da Educação, Fernando Haddad
– 21/04/2011 Minc visita Uzyna Uzona
– 14/04/2011 Cortinas Lyricas do Oficina: programação maio de 2011
– 14/04/2011 Condephaat libera construção de uma torre do projeto SS
– 17/02/2011 Desapropriação dos terrenos envoltórios do Oficina está com a Secretaria Executiva do MINC
– 03/02/2011 Ministério Público abre inquérito para proteger Oficina
– 11/01/2011 Uzyna Uzona solicita encontro com a nova ministra da Cultura Anna de Holanda
– 07/01/2011 Desapropriação nos 100 primeiros dias do governo Dilma
– 06/01/2011 Discurso de posse de Anna de Holanda: Continuar e Avançar
– 31/12/2010 2011 ano de devolver o Bexiga à Cultura
– 23/12/2010 Carta de Zé a Juca, pela desapropriação ainda neste ano
– 03/12/2010 Ió Excelentíssima presidente do Brasil Dilma Rousseff
– 12/11/2010 Panamericano abre caminho para Anhangabaú da Feliz Cidade
– 12/11/2010 Juca fica !
– 29/09/2010 Reunião na Sec. Cultura pela Cessão de Uso do Oficina
– 24/06/2010 Iphan tomba Teatro Oficina
– 12/06/2010 Diário de São Paulo 10 de junho de 2010
– 16/04/2010 Parecer de Nilo Batista e Vera Malaguti
– 15/04/2010 Parecer de Aziz Ab'Saber
– 15/04/2010 Parecer de Zé Miguel Wisnik
– 15/04/2010 Parecer de Marcelo Suzuki
– 15/04/2010 Iphan adia tombamento do Oficina
– 08/02/2010 Oficina e Vai Vai aliados na luta pelo Bexiga
– 29/01/2010 Silvio Santos não vem aí...
– 26/07/2009 Ministro Juca Ferreira no Oficina
– 05/07/2009 Parecer pela materialidade do Oficina em seu processo de tombamento pelo IPHAN
– 21/06/2009 Vida e Morte de um Teatro chamado Oficina
– 09/06/2009 DESPEJO DE UM EMBRIÃO DE DEMOCRACIA URBANA
– 19/03/2009 Carta ao Governador de São Paulo José Serra
– 21/12/2008 Assembléia aponta caminhos para a criação de complexo cultural e educativo nos arredores do Teatro Oficina
– 13/09/2008 Matérias do Estadão Brasil Mercadão X Brasil Cidadão
– 08/09/2008 Folha de São Paulo visita Teatro Oficina
– 27/08/2008 Oficina invoca o presidente Lula a ser a personagem a dar o desfecho no Impasse Histórico com o grupo SS
– 18/08/2008 Carta de Zé a Márcio Bueno
– 28/07/2008 Morreu Joaquim Guedes
– 30/06/2008 Grupo Silvio Santos pretende construir edifícios de apartamento ao redor do Oficina
– 14/05/2008 Desapropriação ATO I
– 24/04/2008 Memorando para Desapropriação
– 20/03/2008 Pedido de Cessão de uso da Ágora
– 07/03/2008 Oficina solicita audiÊncia com Governo do Estado
– 12/09/2007 Acorde Sílvio Santos!
– 21/08/2007 Arquiteto do Grupo SS fala sobre o shopping-teatro
– 15/08/2006 Carta sobre pedido de revisão do tombamento
– 16/07/2006 Para Lembo, SP repete Canudos
– 11/02/2006 Resposta de Zé Celso para matéria "Obra de Silvio Santos..."
– 24/01/2005 Rádio Cultura AM - Die DNA des neuen Theaters (teil IV)
– 24/01/2005 Rádio Cultura AM - Die DNA des neuen Theaters (teil III)
– 24/01/2005 Rádio Cultura AM - Die DNA des neuen Theaters (teil II)
– 24/01/2005 Rádio Cultura AM - Die DNA des neuen Theaters (teil I)
– 24/01/2005 Rádio Cultura AM - Situation Of the Project - part III
– 24/01/2005 Rádio Cultura AM - Situation Of the Project
– 20/01/2005 Um teatro, um centro comercial e um monumento
Contardo Calligaris com réplicas de Cristiane Cortílio e Mariana Zanetti
– 11/10/2004 First Untimely Considerations on the Creation of the Anhangabaú da Feliz Cidade
– 11/10/2004 Programa e Gestão do Anhangabaú da Feliz Cidade
– 15/07/2002 Manifesto Ágora
– 27/03/2002 Carta aberta à Prefeita de São Paulo, Marta Suplicy
– 13/03/2002 Esboço de Direção para o Ato de Cidadania do Teatro Oficina no Dia Mundial do Teatro
– 05/03/2002 Tréplica para o Grupo Sílvio Santos (parte IV)
– 05/03/2002 Tréplica para o Grupo Sílvio Santos (parte III)
– 05/03/2002 Tréplica para o Grupo Sílvio Santos (parte II)
– 05/03/2002 Tréplica para o Grupo Sílvio Santos (parte I)
– 01/11/2000 Carta do arquiteto Paulo Bastos