Before, they said it was the fault of a portal.

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In fact, we tend to resort to this story at the end of every year to justify everything that has happened. We watched the Nardonis, Bus 174, Eliza Samudio, Amarildo, the Candelária massacre, Índio Galdino. Want more? Little Bernardo, Celso Daniel, the Park Maniac, Tim Lopes, and Cláudia Silva Ferreira, dragged for 350 meters by a police vehicle.....

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Urso Branco, Carandiru, Pedrinhas had already happened. But then came Alcaçuz, Anísio Jobim, Monte Cristo. And more plea bargains, lists, leaks, and fabrications. The latest one, they called the “end of the world.” Nothing ended around here. What about over there?

What if this world is another planet’s hell?

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When we put together a festival, we have no control over the connections the audience will make.... How distressing! We are trying to tell you something. Trying to provoke some reflection... I’m talking about Brazil itself, there, I said it! About this barbarity. Can you understand? Can anything be done? Apparently, at least the artists who will be with us throughout these 12 days are doing something about it. Yes! These bums who live off the government’s teat! But is it through the Rouanet Law? Yes, it is! Through the Rouanet Law, with public money via cultural sponsorship, and with the State Culture Fund. There are 15 performances, 25 presentations, 3 book launches, 2 workshops, and 4 debates. The audience only has to pay for the performances, almost the same price as a beer at a bar!

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Do you understand now the power of public investment in culture?

There will be no Claudia Milk, no LUAn SANTAna, no cultural industry in the middle of it all, sucking up public money for a wheel that turns by itself, one that the entertainment market itself can sustain. There is experimental theatre, artists who dedicate their lives to trying to transform this mess we are all caught up in. There are fucking tons of invoices, financial reports, taxes being paid.

This is not some construction company’s relationship with the government, believe me!

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But what was this text for again? Ah! To thank the audience for being with us on this journey. And also to thank the partners who helped us reach our fifth edition. Itaú and the Government of the State of Pernambuco, through Funcultura, who, in the madness this country is caught up in, still believe that art is one of the few solutions, that it educates and transforms.

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The streets remain empty. So can we meet in the theatres? We no longer know what we can do about this inertia. But there will be alternatives.

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CHANGE THE LANGUAGE, CHANGE THE TEXT, CHANGE THE SCENE. TREMA!
*** text adapted from the festival program