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TRAULITO

#6
Novembro de 2012
63
9 -11
7
Uma publicação da 21
SN
Companhia do Latão IS

Teatro no Brasil
por Jacobbi
O debate do Procultura
“Minha formação
na TV”
NOTA EDITORIAL

Traulito 6 JOUFHSB VN DPOKVOUP EF BUJWJ- EXPEDIENTE


Distribuição gratuita
EBEFTEFQFTRVJTBEP1SPKFUP05SBCBMIP
Edição

EP-BUÍP DPOUFNQMBEPOB‹&EJÎÍPEP 4ÏSHJPEF$BSWBMIP .UC41

3PCFSUB$BSCPOF

1SPHSBNB.VOJDJQBMEF'PNFOUPBP5FB- Projeto gráfico e diagramação


1FESP1FOBëFM

USP QBSB B $JEBEF EF 4ÍP 1BVMP &TUF OÞ-


Produção
João Pisarra
NFSPUSB[PMBOÎBNFOUPEPMJWSPEF3VHHF-
Imagem da capa
SP +BDPCJ  Teatro no Brasil  PSHBOJ[BEP QPS *OTQJSBEBOPDBSUB[QBSBBQFÎBO inspetor geral de
(PHPM QBSUFEPBDFSWPEP.VTFV.BZBLPWTLZFN
.PTDPV
"MFTTBOESB7BOOVDDJFUSBEV[JEPEPPSJHJOBM "TJMVTUSBÎÜFTEFTUBFEJÎÍPTÍPSFQSPEVÎÜFT
GPUPHSÈëDBTEFHSBWVSBTEF(SFHPSJP*CBSSB
JUBMJBOPFEJUBEPFN"FEJÎÍPUBNCÏN
Colaboração nesta edição

SFHJTUSB P EFCBUF TPCSF P 1SPDVMUVSB  DPN "MFTTBOESB7BOVDDJ &SOFTUP)JQØMJUP -VJ[$BSMPT


.PSFJSB .ÈSDJP#PBSP .BSDP"OUPOJP3PESJHVFT 
1FESP&VHÐOJP
VNBFOUSFWJTUBDPNSFMBUPSEP1SPKFUPEF-FJ 
Agradecimentos
P EFQVUBEP 1FESP &VHÐOJP  F PT EFQPJNFO- 1SPHSBNB.VOJDJQBMEF'PNFOUPBP5FBUSPF
Cooperativa Paulista de Teatro

UPTEFUSÐTJOUFHSBOUFTEPNPWJNFOUPEFUFBUSP Impressão gráfica


1SPWP(SÈëDB
EF HSVQP FN 4ÍP 1BVMP -VJ[ $BSMPT .PSFJ-
Tiragem

SB .ÈSDJP#PBSPF.BSDP"OUPOJP3PESJHVFT 1000 exemplares

Edição eletrônica
Traulito 6 BQSFTFOUBBJOEBVNQFSëMEF&SOFTUP XXXUSBVMJUPDPNCS

)JQØMJUP RVFFNBCBOEPOPVBEJSFÎÍPEP Contatos da publicação


$PNQBOIJBEP-BUÍP


1SPHSBNBMetrópolisEB57$VMUVSB POEFQFS- DPNQBOIJBEPMBUBP!HNBJMDPN
WJOUFN!VPMDPNCS
NBOFDFVEVSBOUFBOPT XXXDPNQBOIJBEPMBUBPDPNCS
CMPHDPNQBOIJBEPMBUBPDPNCS

2 t 5SBVMJUPtOt/PWFNCSPEF
Teatro in Brasile de Ruggero Jacobbi é traduz ido no
país 51 anos depois de seu lançamento na Itália.

POLIGLOTA DE OUTRO MUNDO


Por Alessandra Vannucci QPS GPSNBT F DPOUFÞEPT  VNB missão CSBTJMFJSPT  VN HJHBOUFTDP BSTFOBM UF- EFTBëPEFBQSFTFOUBSBPMFJUPSJUBMJBOP
de presença RVF GF[ EFMF P HVSV EB ØSJDPEJSFUBNFOUFQSPEV[JEPQFMBPC- VNB iJMIB DVMUVSBMw FOUÍP DPNQMFUB-
3VHHFSP +BDPCCJ 7FOF[B   o TFSWBÎÍPEPGB[FSTFEBBSUF PRVFMIF NFOUF EFTDPOIFDJEB  UBOUP FYØUJDB 
HFSBÎÍP CSBTJMFJSB RVF  OB EÏDBEB EF
3PNB  
 QSPEJHJPTP QFSTPOBHFN JNQPOFOUF F TFMWBHFN RVBOUP P RVF
 EFëOFPVUSPHPTUPFBëSNBPVUSP QFSNJUJBSFDVTBSIJFSBSRVJBTEFNÏSJUP
EB DVMUVSB JUBMJBOB DPN JOWFTUJEBT Ï JOFTQFSBEP
 UFBUSBMNFOUF DJWJMJ[BEB
NFSDBEP $POUSBDPSSFOUF  JODBOTÈWFM QSÏDPOGFDDJPOBEBT F TPMUBS IFSFTJBT
HFOJBJTFNWÈSJPTNFJPT EPUFBUSPBP 0#SBTJMDPNPVNBiTFHVOEB&VSPQBw
DPNP VN CBOEFJSBOUF  +BDPCCJ CVT- RVF TØ FMF i2VBMRVFS TBNCB Ï NBJT
DJOFNB Ë MJUFSBUVSB  EB BDBEFNJB BP TPNFOUFFNBQBSÐODJBQFSJGÏSJDB DBQB[
NFSDBEPEBTBSUFTBPTKPSOBJT GPJQP- DBWBBCSJSFTQBÎPTEFTVCTJTUÐODJBQBSB JNQPSUBOUF EP RVF RVBMRVFS EFMÓSJP EFIPTQFEBSFEBSDPOUJOVJEBEFBPTFO-
FUB EJSFUPS QSPGFTTPS KVSBEP FTQFDUB- iPTNFOJOPTwFDPOUFYUVBMJ[BSDÉOPOFT EPEFDBGÙOJDPw  FTDSFWF FN BSUJHP OB UJEPEBDJWJMJ[BÎÍPIVNBOJTUB
EPSFFTTFODJBMNFOUF TFHVOEPFMFBE- BMUFSOBUJWPTQBSBBDFOBNPEFSOBOB- Folha da Noite EF  BHPSB SFVOJ- &TUB QFSDFQÎÍP EB NJHSBÎÍP EPT
NJUF iVNDSÓUJDPw"MHVÏNRVFPQFSB DJPOBM QFSDFCFOEP RVF  EJWFSTBNFOUF EPT QFMB &E 1FSTQFDUJWB OP WPMVNF WBMPSFT FTUÏUJDPT  RVF +BDPCCJ DBSSF-
OB JOUFSGBDF FOUSF UFPSJB F QSÈUJDB  EFRVBOUPBDPOUFDJBOB*UÈMJB QPSBRVJ Critica da razão teatral 
FiFJT HPV BP MPOHP EF UPEB TVB WJEB DPNP
BMHVÏN RVF JOUFSQSFUB  EFTUSJODIB  TF VNBTJOHVMBSBOPNBMJB UFNoMIFSF-

Divulgação
EFCSVÎB iBMHVÏN DBQB[ EF GB[FS BSUF TFSWBEPVNQBQFMQSPGÏUJDPRVBOEPTF
TPCSFBBSUFw RVFSEFëOJSBFTTÐODJBEPTÏDVMP99
&VEJTTFDVMUVSBiJUBMJBOBwQPSGB[FS 1PSRVF +BDPCCJ Ï B QPFTJB BNBSHB EB
KVT BP OBTDJNFOUP  NBT OFN NFTNP SB[ÍP JODPOGPSNBEB EJBOUF EB CBS-
iFVSPQÏJBwTFSJBTVëDJFOUFQBSBEFNBS- CÈSJF EB IJTUØSJB  Ï B CVTDB ëMPTØëDB
DBS TVB WPDBÎÍP EF NJHSBOUF JOUFMFD- JODBOTÈWFM OPT NFBOESPT EB DSJBÎÍP 
UVBM F EF QJPOFJSP EBT JEFJBT "RVFMF Ï P SJTDP JOUFMFDUVBM EPT HSBOEFT QBJ-
RVFUJOIBTJEPenfant prodige da poesia OÏJTEFJEFJBTOBDPOìVÐODJBEPTNF-
IFSNÏUJDBìPSFOUJOB o
BHJUB- SJEJBOPT  Ï B DPNQSFFOTÍP JOUVJUJWB
EPSEBHFSBÎÍPEPTKPWFOTEJSFUPSFTFN F BNPSPTB EPT EFUBMIFT BUSBWÏT EPT
3PNB o
QSFTPQPSTVCWFSTÍP RVBJTPJODPOTDJFOUFDPMFUJWPNPMEBB
OPÞMUJNPBOPEBSFTJTUÐODJB 
F  SFBMJEBEF 4VB PCSB DSÓUJDB F QPÏUJDB 
ëOBMNFOUF  NFNCSP NBJT iPSHÉOJDPw SFDFOUFNFOUFQVCMJDBEBOB*UÈMJB KÈP
P RVF IPKF TF EJSJB iBëSNBUJWPw
 EP EFTUBDBDPNPVNEPTNBJPSFTJOUFMFD-
HSVQP EF JOUFMFDUVBJT F BSUJTUBT RVF UVBJTEPTÏDVMPF TFNTVSQSFTBTQBSB
EFTFOWPMWF  FN .JMÍP  o 
 B RVFNPDPOIFDFVQFTTPBMNFOUF FOUSF
QPMÓUJDBEPTUFBUSPTiFTUÈWFJTwDPNPJOT- PTHSBOEFTQPFUBT1PSBRVJ BJOEBIÈ
UJUVJÎÜFTEFTFSWJÎPQÞCMJDP DIFHBOEP UFNQP RVFNFTUÈSFDPMIFOEPFSFMBO-
ËGVOEBÎÍPEP1JDDPMP5FBUSPoBPT ÎBOEPPTFVMFHBEPOPDPOUFYUPEFFT-
BOPTFNCBSDPVOPUSBOTBUMÉOUJDP-VHB- UVEPT EB FTUÏUJDB F IJTUØSJB EP UFBUSP
OPSVNPBP3JPEF+BOFJSP QBSBVNB Ï +BDØ (VJOTCVSH  RVF GPJ TFV BNJHP
CSFWFWJBHFN&SB/BUBMEF7PM- EPT NBJT ÓOUJNPT /ÍP RVF +BDPCCJ
UPVQBSB*UÈMJBFN DBSFÎB EF BENJSBEPSFT .BT TØ VNB
+PHBEPOPIFNJTGÏSJPTVM POEFOÍP QPMÓUJDBFEJUPSJBMBNCJDJPTBDPNPBEB
MIFGBMUBWBNPQPSUVOJEBEFTEFSFDFCFS 1FSTQFDUJWB DPNBQPJPEPTØSHÍPTEF
OPUÓDJBT EP PVUSP  NBT DVKB DVMUVSB  Ruggero Jacobbi GPNFOUP EP (PWFSOP *UBMJBOP
 QPEF
USBEJÎÜFT DPSFT TPOTFQBMBWSBTTFTP- BJOEÞTUSJBEPFTQFUÈDVMPTFJNQMBOUB- B IFSFTJBNPS QBSFDFOPT RVF B BSUF OPTEFWPMWFS DPNPGSBHNFOUPEBRVF-
CSFQVOIBNBPQSJNFJSP +BDPCCJBCBT- WBKÈFNNPMEFTEFDPOTVNPNBTTJWP BJOEB Ï VNB SFMBÎÍP EJSFUB FOUSF VN la presençaBQØTMPOHPFTRVFDJNFOUP B
UFDJB TFV HPTUP QFMBT TÓOUFTFT GVMNJ- 6NB QFSDFQÎÍP JEFPMØHJDB NJMJUBOUF IPNFNFVNBSFBMJEBEF)PNFNIJT- TVBWP[EFNFTUSFRVFQSPDVSB PTFV
OBOUFT QFMBTGPSNBTEFFYQSFTTÍPOÍP RVFJOGPSNB SFGPHBFFOSBÓ[BTVBQSP- UØSJDP SFBMJEBEFDPODSFUBw PMIBS DVSJPTP EBT NBSHFOT F DPOUSB-
NBSHFÈWFJT%P#SBTJMWFTUJVBDBNJTB  EVÎÍPDSÓUJDBFBSUÓTUJDBOPTUFSSJUØSJPT ² DPN PMIBS MÞDJEP F OVODB CBOBM  mãos dos fatos do teatro brasileiro e
BMÓOHVB BNÞTJDBFPTTBCPSFTGPJEF- reais da metrópole. Isso, mesmo que HFOFSPTP F TJOHVMBS  VN PMIBS TPCSF FTQFDJBMNFOUF EB iSFOPWBÎÍPw  B QFS-
WPSBEPFEFWPSPVPQBÓT UPSOBOEPTF TFUSBUBTTFEFJOUFSQSFUBSVNDMÈTTJDP  EPJT NVOEPT EF iMÓHVSF o WFOF[JBOP TVBTÍP EF TFV EJTDVSTP o VNB MFOEB
VNNJHSBOUFFNSBSBDPNVOIÍPFOUSF QPSRVFPRVFÏVNDMÈTTJDP BëOBM TF EFTUJOBEPBNPSSFSMPOHFEFDBTBoQSP- OBHFSBÎÍPRVFPDPOIFDFVoFPTFV
EPJTNVOEPT OÍPVNBPCSBRVFDPOUJOVBWJWB BQF- WBWFMNFOUF  FN 4ÍP 1BVMPw  VN PMIBS FWJEFOUFQSB[FSEFMFJUPS RVFDPOUBHJB
/ÍPTFFOUVSNPVDPNPTJUBMJBOPT TBSEPTTÏDVMPTFEBEJTUÉODJB  NBJT FVSPQFV  OB NFEJEB FN RVF TF RVFNMÐBTTVBTQÈHJOBT
POÞDMFPEFEJSFUPSFTRVF OBEÏDBEB 5SBOTJUBOEP FOUSF QSPKFUPT F QSÈ- UPSOB DBQB[ EF JOUFSQSFUBSTF iFVSP-
EF IFHFNPOJ[PVPNFSDBEP QSP- UJDB  +BDPCCJ FYFSDJB B DSÓUJDB DPNP B QFVw RVFFN BOPEFTFVSFHSFTTP  Alessandra Vannucci é professora
UBHPOJ[BOEP B iSFOPWBÎÍPw EB DFOB NFMIPS GFSSBNFOUB EF JOUFSNFEJBÎÍP +BDPCCJ FTDSFWF FN JUBMJBOP FTUF MJWSJ- do Departamento de Artes Cenicas
CSBTJMFJSB
 BP QPOUP EF QFSEFS TVB iPSHÉOJDBw FOUSF JOUFMFDUVBM F TPDJF- OIPTeatro no Brasil FNMBOÎBEP (DEART) da Universidade Federal de
NJTTÍP QSØQSJB  VNB NJTTÍP TFNJOBM EBEF BDVNVMPV  BP MPOHP EPT BOPT FNQPSUVHVÐT QFMB&E1FSTQFDUJWB
OP Ouro Preto.
5SBVMJUPtOt/PWFNCSPEFt
Longa v iagem para
dentro do teatro
Trecho do livro 5FBUSPOP#SBTJM. Org. Alessandra Vannucci.
São Paulo: Perspectiva, 2012. Posfácio de Sérgio de Carvalho.

i2VBOEPDPNFDFJBNFJOUFSFTTBSQPSUFBUSP FVWJOIBEPDJOFNB5JOIBFTUVEBEPVN
QPVDPEFNÞTJDBFDVMUJWBEP QPSVNUFNQPDVSUÓTTJNP VNBJOTBOBQBJYÍPQFMBQJOUVSB
&TUBNVMUJQMJDJEBEFEFJOUFSFTTFT BQBSUJSEBGPSUFCBTFMJUFSÈSJB BDBCPVEFTWJBOEPNF*TTP
NFTNPdesviou-meBUÏPUFBUSP BUÏCFNEFOUSPEPUFBUSP UÍPEFOUSPRVFIPKFTPCSB QBSBB
MJUFSBUVSB TPNFOUFPUFNQPFUFSOPEBTBVEBEFFPJOTUBOUFRVFEFEJDPBFYFSDÓDJPTQPÏUJDPT 
EFTFTQFSBEBNFOUFQBSUJDVMBSFT.BT EJTTFRVFWJOIBEPDJOFNBFEFWPFYQMJDBSDPNPFV
UJOIBDIFHBEPMÈ%PJTNPUJWPTVNBBOUJHBQBJYÍPQFMBTUÏDOJDBT QFMPBSUFTBOBUP QPSUVEP
RVFOBBSUFÏFNQÓSJDPFUSBCBMIPTPFNFVWFMIPQSPUFTUPEFDPMFHJBMEJBOUFEFDPODFQÎÜFT
SPNÉOUJDBTEBDSJBÎÍPBSUÓTUJDBUJEBDPNPVNiEPNwEJWJOP VNJNQVMTPEFOBUVSF[BJS
SBDJPOBM*TTPNFMFWBWB DBEBWF[RVFVNUÓQJDPQSPCMFNBFTUÏUJDPDBSFDJBEFTPMVÎÜFT B
FYQFSJNFOUBS DPODSFUBNFOUF BT EJWFSTBT GPSNBT EB FYQSFTTÍP FN DBEB BSUF F B DPOTUBUBS 
NFTNPTVQFSëDJBMNFOUF BTGFSSBNFOUBTUÏDOJDBT1SPDVSBWBBiQSPWBwEPGBUPFTUÏUJDP<>
%FTDVMQFN NBTFVTFJGBMBSBQFOBTEFNJOIBWJEB&TQFSPRVFJTUPNFEÐ QFMPNFOPT B
QPTTJCJMJEBEFEFTFSTJODFSP1FOTP BUÏ RVFPTQFOTBNFOUPTEFVNIPNFN QPSJTTPNFTNP
oQPSTFSFNQFOTBNFOUPTEFVNTFSIVNBOPoOÍPQPTTBNOÍPNFYFSOPTQFOTBNFOUPT
EPTPVUSPT BPDPOUSÈSJPTFFOSFEFNOPKPHPEFTFVTQSPCMFNBTWJUBJT/FTUBWJEBRVFÏEF
UPEPT<>
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FTQFUÈDVMPFSBBFTQFSBOÎB NFVTBNJHPT EFFODPOUSBSBMHVNBFTRVFDJEBDPNVOIÍPFOUSF
VNFNVJUPT FOUSFUPEPTPTRVFFTUBWBNQFSEJEPTOBTBOHVTUJBEBTTPMJEÜFTEPIPNFNNP
EFSOPFEBBSUFRVFFMFQSPEV[2VFSJBTBCFS WFSFUPDBSDPNBTNÍPTFTUBQPTTJCJMJEBEFFN
VNTÏDVMPEFJOEJWÓEVPTDBEBWF[NBJTBGBTUBEPT NBJTJSSFDPOIFDÓWFJTVNQFMPPVUSP um
espetáculo JTUPÏ BMHVNBDPJTBFNRVFPRVFÏEFUPEPTBQBSFDFBPTPMIPTEFUPEPTFQBSB
UPEPTDFMFCSBTF DPNPVNBNJTTB DPNPVNSJUP<>®JEFJBEPFTQFUÈDVMP EFVNBBSUF
GFJUBOPNFJPEPQPWP BJEFJBEPQPFNBRVFEFTDFQBSBBSVB BFTUBFVOÍPQPEJBSFOVODJBS
0UFBUSP BëOBM<>
&VUJOIBMJEPPMJWSPEF5BJSPW PTFOTBJPTEF.FZFSIPME UJOIBBTTJTUJEPFTQFUÈDVMPTEF
3FJOIBSEUFEF#BUZFDPOTUBUBEPEFQFTTPBPNÈHJDPWJSUVPTJTNPEFTTFTBSUÓëDFTNFTNP
BTTJN  NVJUBT DPJTBT EFJYBWBN JOTBUJTGFJUP P WFMIP IFHFMJBOP EPT UFNQPT EP DPMÏHJP "T
QSJNFJSBTIPSBTEBNBESVHBEB PNPÎPRVFUJOIBPNFVOPNFFRVBTFPNFVSPTUPFRVF
BDBCBWBEFTFSBHBSSBEPQFMPUFBUSP TBÓBEPOPWPFCSJMIBOUFUFBUSPEF#SBHBHMJBSFNPFOEP
DPOUSBEJÎÜFTFTPëTNBTQFMBSVB4JDÓMJB/BRVFMBIPSBTVBWFBMV[EF3PNB RVFTVCJBGSJBF
EPVSBEBFJBBRVFDFOEPBDJEBEFQPVDPBQPVDP DPOWJEBWBPFTQÓSJUPBVNBDPOTJEFSBÎÍP
JOëOJUBNFOUFIVNBOBEBTDPJTBT.VJUBTJOHÐOVBTQFSHVOUBTSFTTVSHJBN DPNPBTRVFP
DPMFHJBMDPTUVNBWBMFWBOUBS EJBOUFEPëMØTPGPEBT2VBUSP%JTUJOÎÜFT EP&TQÓSJUP2VFN
PVTBSÈEJTUJOHVJSEFOUSPEPIPNFN 2VFNPVTBSÈTFDDJPOBSFTUBVOJEBEFJSSFQBSÈWFM )È
VNIPNFNFTUÏUJDP NPSBM ëMPTØëDP )ÈVNIPNFNFDPOÙNJDP <>
&N FVWJBKBWBQFMB*UÈMJB DPSSFOEPQBSBSFWFS EFQPJTEBMPOHBOPJUFEBPQSFTTÍPOB
[JTUB BTDJEBEFTEPOPSUFëOBMNFOUFMJWSFT&ODPOUSBWBBDBEBQBTTPPTGSBOHBMIPT PTBOHVF
EBOBÎÍPBJOEBDPOWVMTB GSBHNFOUBEB BJOEBGVNFHBOUFEPEFTBTUSF7JBHFOUFJSFWPMUBS
QFMBTSVBTDIFJBTEPTEFTUSPÎPTEBTDBTBTEFTUSVÓEBT1FOTBWBi"MHVNBDPJTBTFSÈQSFDJTP
GB[FSQPSFMFT2VFUFSFNPTQBSBEJ[FSBFMFT OØT HFOUFEFUFBUSP 0UFBUSPOÍPQPEFEFT
QSF[BSPIPNFN/ÍPUFSÈDIFHBEPBIPSBEFKPHBSNPTBPNBSOPTTPJOUFMFDUVBMJTNP OPTTBT
TVQFSTUJÎÜFTFTUÏUJDBTFQSPDVSBSNPTBMJOHVBHFNEFUPEPT w"Ó PWFMIPIFHFMJBOPTVSHJVF
EJTTFGSJBNFOUFi$BMNB NFOJOP7PDÐOÍPQPEFFTDBQBSBTJNFTNP"DBCBSÈDPOGVOEJOEP
QPFTJBDPNEFNBHPHJB/ØTOÍPTPNPTOFNTFRVFSPTQSJNFJSPTEFBNBOIÍTPNPT BQFOBT 
PTÞMUJNPTEFPOUFN$POUJOVFTFOEPPRVFÏWFMIPFOPWP BOUJHPFGVUVSPw

i2VFÏRVFFVEFWPGB[FS FOUÍP wQFSHVOUFJ


i'BÎBPQPTTÓWFMw SFTQPOEFVi'BÎBUPEPPQPTTÓWFMw

0DBSSPDPSSJBFOUSFBTSVÓOBTEBDJEBEF/PNFJPEBTDBTBTEFTNPSPOBEBTPFUFSOP)B
NMFUFVSPQFVJBBUSÈTEFTFVTGBOUBTNBT DPOUJOVBWBËTWPMUBTDPNPTTFVTQSPCMFNBT5FTF 
BOUÓUFTF UFTF BOUÓUFTF&BTÓOUFTF 0I DPNDFSUF[B BNBOIÍQPJTFMFKÈPVWJBBTGBOGBSSBT
EF'PSUJNCSÈTBOVODJBOEPPGVUVSPPUFNQPJOFWJUÈWFMEBEJHOJEBEFIVNBOBw
Ruggero Jacobbi e Fernando Peixoto.
t 5SBVMJUPtOt/PWFNCSPEF
Jorge Andrade
e o repensamento
do Realismo
Trecho do livro 5FBUSPOPCSBTJM. Org.
Alessandra Vannucci. São Paulo: Perspectiva, 2012.
Posfácio de Sérgio de Carvalho.

i.BTÏBJOEBTFNEÞWJEBFN4ÍP1BVMP TPCPJNQVM
TPEFVNNPWJNFOUPDVMUVSBMFDPNFSDJBMNBJTFWPMVÓEP
EPRVFFNRVBMRVFSPVUSPMVHBS
RVFBOPWBESBNBUVSHJB
UFWFBTVBFWPMVÎÍPNBJTTJOHFMBFAEPCSPVOBQSPEVÎÍP
RVFDBSBDUFSJ[BBGBTFBUVBM0SFQFOTBNFOUPEPSFBMJTNP 
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EF8JMMJBNTB#SFDIU
F QSJODJQBMNFOUF BSFìFYÍPTPCSF
BQFSTQFDUJWBTPDJBMEPUFBUSPDPNPFTQFMIPEFVNQPWP
F EF TVB IJTUØSJB JOUFSJPS  EFUFSNJOBN B SJDB ìPSBÎÍP EF
OPWBT ESBNBUVSHJBT iQBVMJTUBTw &OUSF PT BVUPSFT  P QSJ
NFJSPMVHBSÏTFNEÞWJEBEF+PSHF"OESBEF 

RVFTFEJTUJOHVJVDPNVNBOHVTUJBEPESBNBEFBNCJFOUF
CBODÈSJP As Colunas do Templo BJOEBTFNNPOUBHFN F
DPORVJTUPVPTVDFTTPEFSFQFOUF DPNA Moratória&TUF
GFMJDÓTTJNP ESBNB JOUJNJTUB  UBMWF[ P NFMIPS UFYUP CSBTJ
MFJSPDPOUFNQPSÉOFP OÍPFSBRVFBTFHVOEBQBSUFEFVNB
USJMPHJB IPKFUPEBSFQSFTFOUBEB FRVFQPSUBOUP ÏNFMIPS
EFTDSFWFSOBPSEFNDSPOPMØHJDB$PNFÎBDPNA Pedreira
das Almas FWPDBÎÍPÏQJDBEFVNBSFWPMUBDPOTUJUVDJPOB
MJTUBFN.JOBT(FSBJTOPTÏDVMPQBTTBEPGBTFBëSNBUJWB
EPDBQJUBMJTNPCSBTJMFJSP OPFOUBOUP FNQVSSBEBFNVN
NVOEPNÓTUJDP FNVNQBTTBEPBCTPMVUPEJTTPBEWÏNB
FTUSVUVSBEFPSBUØSJPUSÈHJDPEBEBËPCSB DPNTPMFOFTHSV
QPTFTUÈUJDPT ëHVSBTFTDVMUVSBJT DPSPFNWFSTPTFNÞTJDBT
QPQVMBSFT$POUJOVBDPNA Moratória KÈDJUBEB RVFQJOUB
BDSJTFEBRVFMBNFTNBDMBTTFEFQSPQSJFUÈSJPT RVBOEPPT
TFOIPSFTEPDBGÏTFSFEV[FNBTFNJQSPMFUÈSJPTOPTTVCÞS
CJPTEBHSBOEFDJEBEFJOEVTUSJBM 4ÍP1BVMPFQPSUBOUPP
UPNÏSFTJHOBEP SFBMJTUB FTNJHBMIBEPQFMBTHSBOEFTQBV
TBTPOEFPUFNQPQBTTBFNWÍPFPOEFTFEFQPTJUBBBOTJF
EBEFEBTFHVSBOÎBQBTTBEB EBOBUVSF[BWJSHFNFQSØTQFSB
EFJYBEBQBSBUSÈTQBSBTFNQSF EPPCTDVSPBNBOIÍ EBJO
DPNQSFFOTJCJMJEBEFEFVNNVOEPBRVFQBSFDFJNQPTTÓWFM
TFBEBQUBS&DPODMVJTFDBNFOUFDPNPBUPÞOJDPO Teles-
cópio POEFTFNPTUSBNPTÞMUJNPTEFTDFOEFOUFTEFGBNÓ
MJBTKÈJMVTUSFT MBOÎBEPTOPiWJUBMJTNPwCVSHVÐTEFOPTTP
UFNQP GSBHNFOUBEPTBUÏOPÓOUJNPEFTVBQTJRVF FTWB[JB
EPTEPTWBMPSFTRVFBJOEBTFSWJEP BJOEBQBSBPTTFVTQBJT 
DPNPQPOUPEFSFGFSÐODJBQBSBPKVÓ[PFQBSBBBÎÍP
<>1BSBDPODMVJS WPVMFNCSBS BUÓUVMPTJNCØMJDP VN
GBUPQFTTPBM3FDFOUFNFOUF NFGPJEJWFSUJEPFTDSFWFSVN
SPNBODF EF BNCJFOUF CSBTJMFJSP #FN  PT NFVT QFSTPOB
HFOTWÍPNVJUPBPUFBUSP EJTDVUFNEFUFBUSP BKVTUBNBT
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NPNFOUP4FFVUJWFTTFFTDSJUPVNSPNBODFEFBNCJFOUF
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Por to Alegre, 1959.
5SBVMJUPtOt/PWFNCSPEFt
Debate sobre reformulação das leis de
incentivo mobiliza setores da classe teatral

A DISCUTÍVEL PAUTA DO PROCULTURA


Depoimento de Luiz Carlos Moreira

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“O Fomento sozinho não segura o rojão.”

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TRABALHO POLÍTICO Luiz Carlos Moreira é fundador do grupo Engenho Teatral. Este
.BTFTTBCBUBMIBOÍPFTUÈFODFSSBEB FOUÍPPRVFQPEFNPT depoimento resulta de uma conversa com Renan Rovida, ator
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“A nossa despolitização é tamanha que as pessoas não


sabem o que é aliança e o que é correlação de força.”

t 5SBVMJUPtOt/PWFNCSPEF
Debate sobre reformulação das leis de
incentivo mobiliza setores da classe teatral

“NÃO CONSIDERO CORRETO DIZER


QUE O MECENATO SEJA PRIVATISMO”
Entrev ista com o Deputado Pedro Eugênio, relator do Procultura

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Entrevista realizada pela internet a partir


de pauta sugerida por Ney Piacentini, ator
da Companhia do Latão e presidente da
Cooperativa Paulista de Teatro.

10 t 5SBVMJUPtOt/PWFNCSPEF
Osvaldo Pinheiro e Fernanda Azevedo
Debate sobre reformulação das leis de
incentivo mobiliza setores da classe teatral

O CAFÉ DO ESCULACHO
Um Seminár io pr ivado sobre o Procultura
enf renta protesto de ar t istas do teatro de grupo.

Manifestação do l ado
de fora do Seminár io
Procultura.

Por Márcio Boaro OBÎÍPwDPNP-FJ4BSOFZ2VBOEPGPJQFOTBEBDPNPVNBMFJEFNFDFOBUP 


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VNBJEFJBOFPMJCFSBMFNWPHBOPTBOPT QFSÓPEPEFTVBQSJNFJSBiFODBS- Márcio Boaro é diretor da Companhia Ocamorana de Teatro.

5SBVMJUPtOt/PWFNCSPEFt 11
UM PRÊMIO PARA O
TEATRO BRASILEIRO
Debate sobre reformulação das leis de
incentivo mobiliza setores da classe teatral

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Entrev ista com Ernesto Hipólito
Por Roberta Carbone

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NBJT PCSBT OP FTUÞEJP F B NJOIB FVWÈGBMBSNBMEB$VMUVSB FVOÍP TFNQSF NF BKVEBSBN "MJÈT  FV TBJ
FMFTQSPQVTFSBNRVFFVë[FTTFVNB
JEFJB FSB USBOTGPSNBS BRVJMP OVNB WPV.BTB57$VMUVSBOÍPÏNBJT EJBEFNBSÎP PNFTNPEJBRVF
TÏSJFEFQBMFTUSBTTPCSFESBNBUVSHJB
WFSOJTTBHFWJSUVBM"JEFJBFSBPQÞ- a mesma. FV GVJ DPOUSBUBEP & FV OÍP QSFWJ
F UFMFESBNBUVSHJB CSBTJMFJSB & BÓ
CMJDP EF DBTB FTUBS BOEBOEP OVNB JTTP%JBEFNBSÎPEFF
FYQPTJÎÍP EF EFUFSNJOBEP BSUJTUB Traulito o .VEPV P RVÐ  &TTB EFNBSÎPEF&FVOÍPBQBSF- NVEPVUPEPPBTTVOUP&VRVFJBMÈ
&BHFOUFQVOIBRVBUSP DJODPPCSBT MJCFSEBEF &MBëDPVNBJTFNQSFTB- DJNBJTMÈ NBTFVTBJNVJUPBDBSJ- DPNPBMVOP BHPSBFTUPVJOEPDPNP
EPT BSUJTUBT &V UJOIB ëDBEP RVJO- SJBM  OIBEPFFTUPVFNEFCJUPDPNFTTBT QBMFTUSBOUF&VKÈNBOEFJVNSPUFJ-
[FBOPTOB5VQJFFVQFSEJUVEP& Ernesto o.VEPVPKFJUPEFGB[FS QFTTPBT1PSRVFFVOÍPë[OBEBTP- SPDPNPUPUBMEFQBMFTUSBT"ÓFV
RVBOEP FV BTTJOFJ DPOUSBUP DPN B UFMFWJTÍP"MJCFSEBEFDPOUJOVB4Ø [JOIP 1SJODJQBMNFOUF EFQPJT RVF WFKPRVFBPTBOPTFVOÍPQPTTP
57$VMUVSBFVGBMFJi&SOFTUP WPDÐ RVF  WFKB WPDÐ WFKB  B 57 $VMUVSB FV WJSFJ EJSFUPS EF FTUÞEJP  BRVJMP perder tempo, que a vida vai em-
FTUÈ BRVJ BHPSB  NBSBWJMIPTP  NBT OVODB NBJT GF[ VN UFMFUFBUSP &MB FTUBWBOBNJOIBNÍPMJEBSDPNDÉ- CPSB&VFTUPVOVNPVUSPNPNFO-
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WBJ QBSB PVUSB UFMFWJTÍP "UÏ QBSB B USBT &MB UFN DPNFSDJBJT /ÍP RVF UBNCÏN VNB FTDPMB RVF FV UJWF F
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BDFJUFJ 5BMWF[ FV WPMUF QBSB P UFB-
QBSBB3FDPSEGB[FSOPWFMBw1PSJSP- mim o Metrópolis DPOUJOVB .BT EFUFSNJOBEBNBOFJSB RVFGPJNVJ-
USPQBSBGB[FS4USJOECFSH RVFFVKÈ
OJBFVTJNQMFTNFOUFëRVFJBOPT QBSB NJN  BPT  BOPT EF JEBEF  UP JOUFSFTTBOUF QBSB P SFTVMUBEP ë-
GVJTPOEBEP5FNVNQSPKFUPQBSB
OB$VMUVSB&QPSRVFFVOÍPëRVFJ DPNFTTBIJTUØSJBRVFFVDPOUFJQBSB OBMEBTDPJTBT&PVUSB IÈBOPTFV
NFOPTMÈ 1PSRVFB$VMUVSBNFEFJ- WPDÐT  FV UFOIP OFDFTTJEBEF JNQF- HBOIFJVNBCPMTBFJTTPGPJPNPUF FVGB[FSQSPEVÎÍPEFFWFOUPTOVN
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VNBFYUFOTÍPEBTMPVDVSBTEB5VQJ EFDPSBHFNFVOÍPNFPGFSFDFSJTTP GB[FS VN XPSLTIPQ EF UFMFESBNB- RVJTNFQSPQPSDJPOBSVNNPNFOUP
&V ë[ DPJTBT OB $VMUVSB RVF TFHV- OFTTF NPNFOUP 7PDÐT OÍP JNBHJ- UVSHJB RVFFTUÈQSFWJTUPBHPSBQBSB EFKVOUBSUVEP UPEBBNJOIBFYQF-
SBNFOUFUFMFWJTÍPOFOIVNBNFEFJ- OBN P RVF GPJ OBT EVBT QSJNFJSBT TFUFNCSP&FVOÍPDPOTFHVJJSBUÏ SJÐODJBFEBSSVNPOJTTP

5SBVMJUPtOt/PWFNCSPEFt
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