Interview given by Zé Celso Martinez Correa
Media: Rádio Cultura AM
Reporter: Marilú Cabañas
Date: January 24th, 2005


PRESENT SITUATION OF THE STADIUM THEATRE PROJECT

Marilú: Zé Celso, we have been following the trajectory of your struggle with the Silvio Santos Group, and it has been - as far as I've been able to see - a very exciting struggle, which have shown that you are a very persistent person, that you have guts, that you are fully committed in defending the Oficina Theatre. What has happened now - we have read something in the newspapers, what are the facts? Have you already come to a satisfactory agreement, or is there still a way to go? What is the situation today?

Zé: It's a struggle on behalf of the Oficina and the Bixiga district, and it's also a fight against the thirst of property speculation which devastates the cities, above all a city like São Paulo, which is perhaps the city most severely devastated by property speculation. So it's a fight on behalf of the district and of the theatre which has an universal character. And this fight - with the visit of Silvio Santos, we could see that a big change has happened after 25 years, because now Silvio Santos was able to perceive things which the Group Silvio Santos has not been able to see for many years, even in audiences at courts on environmental issues. Silvio Santos was here and he saw the grandiosity of the theatre. He said he had never entered this space because he thought it was very small, and he was surprised to see how big it is, its height, its mobile roof. And he was surprised by the way he was welcomed. He showed an extraordinary interest. I couldexplain the project in clear terms to him and I feel he has understood its dimensions, not only regarding the district, but also the international dimensions of the project. After that they hired these architects, who are very good indeed, they have worked with Lina [Lina Bo Bardi – she was an internationally famous architect and died a few years ago]. One of them is Marcelo Suzuki, who had made the first drawings of the stadium theatre together with Lina, before Silvio Santos even began to think of buying the Oficina. Well, they started to set up the project. They are working together with the Silvio Santos Group and obviously now there is the strong pressure of speculation, because each millimetre and each centimetre has to be discussed in terms of profitability, a short-term profitability. I think this project will become either a rather conventional project or a project of great importance for the whole world. It not only will be a postal card for the city, but also a place in the world which will prove that it's possible to overcome determinations and fatalities imposed on big cities by property speculation. And it could really become an example of beauty, a point of attraction in the world. But considering the first meeting I had last week, it may also remain a mediocre thing. This meeting has been recorded and we will put it in our Web site. And we want to open up our Web site to discussions. It was a meeting of heated discussions, and right from the beginning there were many things I didn’t agree with,and others I did agree with. And it ended with the unanimous decision to set up a kind of council. We gathered people like Modesto Carvalhosa, our lawyer, and Contardo Calligaris, and the whole Oficina ensemble, including Bete Milan. The other day we hadthe participation of Eduardo Suplicy [Senator of the Brazilian Republic]. All these people are following up our project, and in the end it was unanimously decided to submit the project to the municipality for approval on January 31th. But it’s going to be only an approval of the volumetric analysis, not a definitive approval. I decided to agree based on trust - trust in two things: first, in the feeling of mutual confidence which Silvio Santos has transmitted to me and the understanding I think he now has got for the project, and second, in the support the project has gained from a good part of the public opinion.

THE STRUGGLE WITH THE LOGIC OF THE CAPITAL
THE CREATION OF A NEW CAPITAL

Presently there are discussions going on within the public opinion. First, there were some news in the press, one article in the “Estado de São Paulo” and two articles in the “Folha de São Paulo”. At“Folha”, the subject was published on the cover, together with a drawing, and this has led to a huge polemic. In a sense I find this polemic very interesting. There is something ingenuous about it, on the part of those who are not in midst of the fire, who are not involved in the fighting. It’s a harsher fight than if you were in Israel or in Palestine. The fight with the capital is very difficult – not in regard to the people, to the capitalists, but in regard to the own logic of the capital. It’s very hard for you to convince others that the capital is not so important from the economic point of view and in terms of immediate profitability – important is what the capital will mean in the long run. I have the impression that if things turn out the way I intend, as the Oficina intends, as Lina intended, this will have an importance as great as the Uffizi museum of Florence had – the Uffizi museum, which means the museum of the “oficina” [workshop in Portuguese] and which was given to Prince Cosimo by a grand-grand-grand-grand-mother of Silvio Santos, from the Abravanel family, and which is considered to be one of the most importantmuseums of the world. This means capital, tourism, profitability, knowledge. It’s a form of capital that is less immediate, but which in the end produces a much bigger profit. Here lies the problem we are dealing with. Evidently it was extraordinary for me to see the absolute change of quality after 25 years, that is, during all these years the Silvio Santos Group presented a series of projects, one of them transferring parts of the land plot to the Oficina. But those were projects to which I could not give way to. Even if sometimes the architects would tell me: “you should give way to it because they are giving you two times the space of the theatre”, but I did not agree to it because it didn’t correspond to the stadium theatre idea.

CHARACTERISTICS OF THE PRESENT PROJECT

This project has an interesting feature. A stone will be cast in the middle, so that the theatre will no longer look like a shopping centre stand; rather, it will become the centre, the square, the Mecca, where the architectural happening takes place. This stone is still being shaped by Marcelo Suzuki. And Lina always talked of “terreiro” soil [“terreiro” is an outdoor place where rituals of candomblé or umbanda are practised], she talked of a street, of a Milan theatre gallery leading to Silvio Santos’ catacomb. Even with this idea of a Silvio Santos’ catacomb she imagined a stadium full of holes, just as the Coliseum, because she liked holes, as for example the holes of the SESC [theatre owned by the Social Service for Trade], which she nicknamed Beirut and which today she would call the holes of Falluja, Iraq. I want it to be a completely holed stone. The stone is being made of cement, clay, earth, but it gives the idea of a stone, which I am very fond of because it makes me think ofthe Greek theatre and the first theatre stadiums, where the grandstands were carved from stone. The Greek theatre was carved in stone and this accounted for the good sound quality. That is more or less what will happen. However, for the time being there are no holes in the drawing. For the time being - and that is something I think is even worse and which was rightly noted by Mariana – well, a stadium theatre has to be open to the four corners of the city, because it is a crossroads. It has to have an opening to the Santo Amaro street, another one to the Abolição street, one to the Jaceguai street and the other to the Japurá street, because it’s a public monument after all. This project has also something of an Italian stage, of a church saint with no back. I think that such a monument has to have buttocks, it has to have a whole body, it must be visible from the four corners, it cannot be something opened up to just one side. So I fight for this, I fight for the shopping centre itself to be opened to the four corners of the city. And foremost I fight for this theatre to have its breath open to the four corners of the city. We didn’t conquered the Abolição street yet, that means, in the present project of the shopping centre there is no access to the theatre trough the Abolição street. As a matter of fact, I consider this stadium theatre as the DNA of other stadium theatres which will be build. And the DNA of the stadium theatre is always very important, because it has to contain the qualities of all which will come in future. In reality, I wanted a stadium of 15 thousand seats, but this one will have thousand seats. This doesn't really upset me, because I know it’s a process, something that needs a practical exercise and has to be improved to go on growing. I hope this idea willexpand with the expansion of the theatre itself, in proportion to its relationship to music, to dance, and to the digital revolution, and with the ascent of the Brazilian people, of this culture, which is a world-wide culture, the culture of race mixture.This kind of theatre will expand not only in Brazil, but in the world. So much that we want to see here a place where a world-wide biennial festival - at least - will be performed. But the theatre isn't ready yet. They had a difficult fight to achieve this space, so that the theatre for example would have its own sky, that it would not be an insertion in the body of a shopping centre. Well, the architects came along, exhausted by this fight, and presented that, but I still feel the whole shopping centre isgiving a too tight embrace. There has to be more room. Another thing is that they think that we are still in discussions. So I want that the West side wall of the theatre, which has a big window, opens up through doors. That it opens up directly to the stadium, and that the Oficina theatre becomes what the Greek would call "skene", which is the stage place in the Greek theatre, where the gods and the protagonists appeared. And then there is a circle, which is the orchestra, where the choir is located. I want this theatre as a Greek theatre, with level curves, I want it swinging - a swaying theatre, as if it were a bass-drum-drome [joke with the word “sambódromo”, where the samba schools parade during Carnival], because we are going to use both the spaces ofthe orchestra as well as of the scene to make the productions. It will be a theatre to act on through and through, as if it had many hills, many segments. That is why I first thought of calling Oscar Niemeyer. I wanted Niemeyer because of the curves, because I wanted a swaying Greek theatre. We haven’t come to that yet. This all Marcelo Suzuki will put in detail. Another aspect is: in the first version, there were two domes, one located just right above the stage, which gave not the idea of a stadium, because if you walk in a stadium, the first thing you see is the vastness, you see the roundness, you see everybody, you see the open sky. Sure, if it's raining, you’ll close it. Today there is a beautiful highly advanced technology - because of the Olympic Games - and I want the theatre that way. In this drawing there is still a small dome and another one, which in reality is designed for a small theatre of 100 seats, quite nice, with a view to all of the city. But I think this can be done covering a part of the stadium - as there are those places which are more expensive, which stay protected from the sun. The best is really the visibility, the open sky. With a dome which opens and closes and which at the same time is a projection screen, which may be used with all the inventions provided by the digital revolution. A dome which even on sunny days may be easily closed, as does the mobile roof here at the stage of the Oficina, so that one can make projections on it.

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.

THE IMPORTANCE OF PUBLIC OPINION FOR THE IMPLEMENTATION OF THE PROJECT

That’s why I defend this project, because this is the moment of change, the moment to go out on the streets and to come to the apotheosis, to come to the circle, to the place where you can really found again the Brazilian popular theatre, a theatre that’s musical, danceable, erotic, visual, plastic, funny, circus-like, and which will attract huge multitudes. These all are things which have been very clearly in my mind for 25 years now and which - as I see - the architects, urged by financial speculations, still weren't able to solve. I see the need for pressure on the part of public opinion. This is why we’ll open our Web site for debate. This is not really a means of pressure, rather it's an ideological contribution, a creative and inventive contribution. That's something which never existed before. It's nice, because people have ideas, people know about things, people want things. For example this girl, she expressed herself - Ihave been receiving news through Orkut that people are gossiping a lot, saying that I'm a traitor, that I've given up everything and so forth. But it's nothing of that kind, it's a process, in which we have already had a big victory with this visit of Silvio Santos. I wouldn't have achieved anything if I had dealt only with the people of the capital, because I think what changes things are the people. The structures are there to be changed by people, they are not there to enslave people. So the man who already is above, who has his neck outside the structure, as Silvio Santos does, has given the order to demolish a building because this would look better. I found this attitude just wonderful. The group was scandalised. I believe in him, I trust he will understand all the significance of this, all the international grandiosity which will last for ever and which we are capable to give.

THE PEOPLE OF THE BIXIGA DISTRICT

This place mustn't become a mediocre place. The calculation has to have some more "reais",some more dollars. The reward will come later, in form of many more dollars, many more euros. It may become an international shopping centre of international interest, because such a popular district begins to have an international interest, as it becomesan island which will serve as orientation for the whole world, which will allow it to expand itself in this sea which is the common people. And this people of the Bixiga district is a great people, it's a wholly mixed people. To have the [samba school] Vai-Vai is a luxury, that African mix, all these people drinking, sniffing, smoking, talking, singing, dancing. I mean, it's an ecological thing; humanity needs such a kind of space. For millenniums humanity has been celebrating itself in liberty. So this joyful thing which exists in the Vai-Vai and in this district, this people that is a mixture of Italian and black people with everything and with the people from the Northeast region results in people you can talk to and who go to this theatre. The Bixigão project was a revolution in this district and has put us in direct contact with these wonderful people. They are not of the kind of the medium class "paulista", of the inhabitant of São Paulo who is framed in the machine, who closes the windows of his car, who doesn't want to talk to anybody, who thinks the poor have to be massacred, who thinks the poor are no issue. They are not like the imbecile “paulistas”, these poker face people. They are people who are a heritage of mankind. So this is a thing which has to be understood and which is linked with the whole.

RE-DESIGNATION OF THE MINHOCÃO VIADUCT

There is still another issue to be added, regarding the Minhocão viaduct. There is a possibility, which has already been planned in the project of Paulo Mendesda Rocha and which Marcelo Ferraz will be able to adapt and which is a very good idea, that is to cover the Minhocão viaduct with earth and to build a small amphitheatre under the Minhocão. This place could simultaneously be the “dressing room” for animals, for horses and elephants. I have seen a photograph of Elvira Pagã on the back of an elephant. So it would be possible for an elephant to cross this place and enter the stadium theatre; therefore there must be a dressing room for it.

INFORMATION TOWER AND PRODUCTION TOWER

And on the two pieces of land which belong to the municipality there should be a production house with a bar, where you can find pingas [white rum] from all places in the world, and on the neighbouring piece of landan archive. I am very engaged in the struggle for the creation of an archive, I am looking for subsidies to begin immediately to set up a data bank, to make available what the Oficina has in store and which is of universal interest. It’s a crime to have everything so locked up. There is not an easy access to it because the material is not organised. I’m trying to raise funds for this, but we need to define the place and I want it to be in one of the towers Paulo Mendes da Rocha has visualised and Marcelo Ferraz could adapt and which Silvio Santos could sponsor as a whole, so that it becomes a really strong thing.

REVOLUTION INSIDE THE CAPITALISM
GILBERTO GIL, BRAZIL’S MOST IMPORTANT MINISTER

If it is to become a mediocre thing, I don’t want it. I have agreed to this bureaucratic thing because I believe in the very good relationship with Silvio Santos. There is also a very good relationship with the architects, and the relationship with the people of the financial group has been good and is still improving. Nevertheless they still believe that they have to think according to the immediate profit machinery. It is as if they had a helmet, a Matrix over their heads. But even this people may do without this Matrix and begin to think in longer terms, because Brazil is growing and it will be a rich nation. And it won’t grow with a mentality of excessive and stingy exploration. It’s necessary to have another kind of capitalism here in Brazil: a revolution within capitalism itself. The other day, a friend of mine,Monique, said that everybody should become rich in order to put an end to capitalism. Everybody wants to get rich, but the logic of capitalism allows this to happen only to a few. And those who get rich become captives. I heard that those big bankers in Switzerland who own huge fortunes don’t know what to do with their money; they dress in blue jeans and do nothing, they sit together looking at each other because they don’t have anything to do with their money. Well, they invest it in the structure, while we are living in an era in which humanity could be much more happier. It’s not an utopia; humanity doesn’t need wars, doesn’t has to be hungry. But it’s a question of change in mentality. I think we are in a special moment, because of the culture, because of this stadium theatre, because of the man Silvio Santos, because of what Oficina is and because of the public which Oficina has and who is discussing the subject. We are living a special moment, having Gilberto Gil as Culture Minister, who I believe is the best Culture Minister of the world – I doubt there is another culture minister with such a high cultural level as Gilberto Gil has, be it in the USA, in France, in Israel, in Japan. I’m sure there isn’t. – Well, this all is being wonderful for Brazil. Just yesterday he was saying in an interview that 10% of the Brazilian GNP comes from the cultural sector. That culture is already a wealth factor and is a “creative industry”. I think this is very good. There has to be a great investment in creative industries. We presently have as Culture Minister an “Oswaldian” [Oswald de Andrade (1890-1954), author of the Anthropophagist Manifesto of 1928], a “tropicalist” [Gilberto Gil is one of the founders of the cultural and musical movement “Tropicalismo” from the late sixties and seventies] who is the most important minister of the Lula government; then comes Celso Amorim [Foreign Minister], but the foremost minister is Gilberto Gil. Brazil is now living a very important moment of cultural awakening. And this cultural and economic awakening of the Brazilian culture will allow a change in the vision of the capitalist mind conditioned to pay debts, to profit, to enslave. I think the major form of slavery is if you have to live to pay debts and interest. I think it’s a shame for humanity. Also the impediment to the liberation of drugs is a shame, as is the trade with slaves. And culture emerges as an enormous power to make a revolution in society. I believe that only this can stop the wars in Iraq, in Afghanistan, and now in Iran. That man wants to invade Iran. It’s just crazy. And only through a total cultural experience, not only cerebral, but through the experience of the body, the own experiences, the experience of another dimension of the individual human body and ofthe collective human body, - all of which will be made possible by the stadium - this revolution can be achieved.

THE OFICINA WEB SITE

Marilú: How about the Web site ?

Zé: We have a Web site which is not spectacularly beautiful because we are learning how to make a Web site. Incidentally the guy which is the best Web site designer in the USA and who makes a Web site on movies has said that his Web site is not fabulous or ostentatious because it’s a site of content. So that’s what we are working for. Our Web site is always updated, it brings the news of the day, the reports on the rehearsals and musical scenes; it has a kind of TV and radio - the Uzyna Uzona – which will soon show a report of the day on which the model of the project has been presented - this report is still being edited. The Web site will be open to everyone who wants to contribute to the discussions. We’ll open the site very soon, I don’t know very much about Web sites, but I will ask them to open the site today because of the discussions which are being made at Orkut. This is of big relevance to us, to the Silvio Santos Group and to Silvio Santos himself. Because it’s an opinion poll, and the discussions about the stadium theatre arouse big interest. And it’s a new thing, it’s a first voyage, there has never been something like it in the contemporary world. There has been something like it in ancient history, and it has to be thought of in a collective way. Please note, it’s “teatroficina” with only one “o”, dot com. dot br. Kisses to everybody.

Translated by Angelika Kohnke