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BIA MORAIS
12
O impacto na cidade
Logo na abertura, a verso moderna de
uma horda primitiva, precedida por um cachorro
metlico incandescente e um trio eltrico, rolava
tambores em pleno centro de Belo Horizonte,
anunciando que nem a cidade, nem as artes cni-
Divinas Palavras
Da Rin Produes Artsticas/Bahia/ 1998 (Foto: Guto Muniz)
Expanso
Na segunda edio do evento, em 1996,
teve incio a longa parceria com a Associao
Movimento Teatro de Grupo de Minas Gerais, integrada por importantes grupos profissionais mineiros. Essa parceria com o MTG se repetiu nas edies de 1997, 1998, 2000 e 2002.
Em 1996, o FIT se expandiu no tempo, no
espao, em nmero de espetculos, de apresenta-
13
Edio especial
Nas origens do FIT, ficou estabelecido que
sua periodicidade seria bienal. Apesar disso, na
condio de evento cultural de maior aceitao
popular em Belo Horizonte, ele no poderia ficar
de fora da programao do centenrio da cidade,
em 1997. Uma edio especial e compacta foi realizada, contando com a participao de sete grupos internacionais, seis nacionais e uma co-produo Brasil/ndia.
Formato ideal
A quarta edio, em 1998, traz como novidades produes da sia, frica e Amrica
Central. O ano marca, tambm, a busca de um formato ideal para o festival, livre de carncias e
excessos. Tanto cuidado era para evitar o risco do
gigantismo e, conseqentemente, a perda do controle operacional e da qualidade. A agenda foi
reduzida para 11 dias.
14
Primeiro balano
A quinta edio do festival, em 2000, foi
tambm a oportunidade para um primeiro balano: em sete anos de realizao, o FIT-BH havia
recebido 87 grupos, quase 50 espetculos internacionais e um total de 459 apresentaes (250 de
palco, 209 de rua), que atingiram em torno de 450
mil pessoas nas nove regies administrativas de
Belo Horizonte. Somam-se aos espetculos os
eventos especiais, com a realizao de 29 oficinas
inteiramente gratuitas, alm de mostras de vdeo e
debates, conferncias, entre outras atividades.
A abertura foi marcada por um lance de
ousadia: a direo do FIT-BH programou um espetculo inesperado, O Bracelete de Jade e Outras
rias de pera Chinesa, com o grupo Chinese
Theatre Circle, de Singapura. O enorme pblico
que compareceu Praa da Estao, acostumado
a montagens com grandes efeitos visuais, itinerantes, com muito barulho e movimento, assistiu,
reverente, aos 90 minutos da apresentao, reve-
Pblico recorde
Em 2002, o FIT-BH atingiu um pblico
recorde de 165.585 pessoas, superando a expectativa inicial de 150 mil. A abertura ficou a cargo do
grupo Close-Act, da Holanda, com Malaya, em que
acrobatas se balanavam em cordas suspensas
por cima do pblico e atores em pernas-de-pau
invadiam a platia, tendo ao fundo fogos de artifcio.
Dois brasileiros, Andr Curti e Arthur
Ribeiro, que tm uma companhia de teatro na
Frana, a Dos Deux, foram responsveis por um
dos momentos mais marcantes dessa edio, com
Aux Pieds de la Lettre, um espetculo de teatro
gestual, de rara beleza.
Textos de Nelson Rodrigues estiveram presentes, mais uma vez, com Perdoa-me por me
Trares, da Cia. Luna Lunera (BH), e Meu Destino
Pecar, da Cia. dos Atores (RJ), e o mais popular
texto de Dias Gomes, O Pagador de Promessas, foi
apresentado pelo Depsito de Teatro (RS).
16
Grandes projetos
Na stima edio, em 2004, o evento completou dez anos de existncia. Seu parceiro de realizao foi a Soama - Sociedade dos Amigos do
Teatro Marlia, em substituio ao MTG.
Um milho de pessoas
A 8 edio do FIT-BH, em 2006, atingiu
um pblico direto de mais de 120 mil pessoas.
Com os nmeros das sete edies anteriores, foi
alcanada a marca de um milho de espectadores
desde que o evento foi criado.
Durante 11 dias, o festival movimentou,
alm de Belo Horizonte, cinco cidades do interior
de Minas Gerais (Lagoa Santa, Betim, Contagem,
Alguns nmeros
Edies
Apresentaes
Pblico geral
(8)
(palco, rua e
espaos
alternativos)
(espetculos
e atividades)
FIT-BH/1994
92
53.700
FIT-BH/1996
117
133.000
FIT-BH/1997
64
105.176
FIT-BH/1998
88
152.054
FIT-BH/2000
102
124.029
FIT-BH/2002
89
165.250
FIT-BH/2004
118
151.000
FIT-BH/2006
120
122.823
TOTAL
790
1.007.032
17
Assim o FIT-BH
Realizao: Prefeitura de Belo Horizonte, por
meio da Fundao Municipal de Cultura, em parceria com o setor privado, atravs de captao de
recursos via leis de incentivo cultura, ou por
outros meios. Desde 2006, o festival tem como
parceira de realizao a Associao de Amigos da
Fundao de Educao Artstica - Flama.
Periodicidade: bienal, em anos pares: 1994,
1996, 1997 (edio especial Centenrio de Belo
Horizonte), 1998, 2000, 2002, 2004, 2006, 2008.
Durao: 11 dias.
Conceito: festival no temtico. Sua programao busca unir diversidade de linguagens
qualidade artstica. H o cuidado de evitar o
gigantismo e a superficialidade de eventos espetaculosos.
18
COMENTRIO
Marcelo Castilho Avellar
Essa experincia foi surpreendente. Ningum organizadores do festival, artistas, espectadores imaginava o choque que Bivouac, do grupo francs
Gnrik Vapeur, produziria naquele fim de tarde
de 2 de junho de 1994. Ningum estava preparado
para uma interveno que praticamente paralisou
a cidade, ningum estava preparado para a interao que o pblico estabeleceu com a performance, ningum imaginava que um festival de
artes pudesse se integrar to subitamente vida
belo-horizontina.
Houve um preo a pagar. O Gnrik Vapeur e outros grupos que viriam depois se sentiriam
frustrados ao no encontrar, em outros lugares,
platias to interativas como as de Belo Horizonte,
como se a prpria idia da interveno houvesse,
aqui, ganhado uma concretude final. Boa parte do
pblico ficaria viciada em processos interativos,
tentando produzi-los em outros espetculos,
20
Since 1990 Grupo Galpo, supported by the SMC, had promoted the Festin - Festival Internacional de Teatro de Rua.
The new direction of Francisco Nunes Theater, which had
taken over in 1993, had the purpose of promoting a festival
of stage theater. Seeking to concentrate work force, contingency, time and energy, the Municipal Secretary of Culture
at the time, Maria Antonieta Cunha, proposed to join both
proposals by creating a unique and big event. FIT-BH was
born then. Its first edition, from June 2 to 12, 1994, was promoted by the City Administration of Belo Horizonte and was
a joint event by the Francisco Nunes Theater and Grupo
Galpo.
With spectacles on stage and on the streets, decentralized
programming and formation and reflection activities, FITBH has been a highlight since then. Receptivity from the
audience was automatic: although they interfere in the
city's everyday life, making a lot of noise and modifying the
Aeroplanos - Teatro Circular de
Montevidu/Uruguai/1997
(Foto: Frederico Antoniazzi)
Expansion
In the second edition of the event, in 1996, was initiated the
long partnership with Associao Movimento Teatro de
Grupo de Minas Gerais (Minas Gerais Group Theater
Movement Association), integrated by important professional groups from the state of Minas Gerais. This partnership was repeated in the 1997, 1998, 2000 and 2002 editions.
In 1996 FIT expanded itself in time, in space, in number of
spectacles, shows and staff. Extended to 15 days, it also
reached Betim, Contagem and Mariana, cities close to Belo
Horizonte. A research done with the audience during the
event showed 88% of positive evaluation, 7% of regular, 5%
of ignorance and 0% of negative opinion.
The Comediants group from Spain made the opening spectacle: Dimonis, a kind of demoniac ritual, at Praa da
Estao (Station Square), in the darkness, proclaiming the
triumph of instinct and taking the public to a state of delirium. Every one of the nine administrative regions of the
capital received one street show, in an exercise of expanding the Festival decentralization.
New themes came into question in the Special Events: the
possibility of cooperation between international theater
festivals (with the second meeting of directors of Brazilian
events of the genre), editorial policies, market pressure ,
perspectives and tendencies, all discussed at Encontro de
Editores de Cadernos de Cultura (Newspaper Culture
Section Editors' Meeting).
Special edition
In the origins of FIT it was established that its periodicity
would be biennial. In spite of this, in the condition of the
cultural event with the most popular acceptance in Belo
Horizonte, it could not be left out of the program of the city
centennial in 1997. One special and compact edition was
promoted, counting on the presence of seven international
groups, six national ones and a Brazil/India co-production.
In addition to valuing aesthetic diversity and quality, the edition paid homage to groups with remarkable passages in
FIT history: Gnrik Vapeur, from France, for instance,
showed Bivouac again, this time with the participation of
Bloco Afro Porto de Minas, and brought the new spectacle
Coche Porque? Porque Coche?; the also French group
Flash Marionnettes, acclaimed since 1996 for the nice gesture of translating into Portuguese the text of A Corte dos
Vagabundos and thus making it accessible, was invited
again, and so was the Spanish duo Boni & Caroli, who presented Side Car once more.
Two remarkable presences: in addition to the spectacle
Aeroplanos by Carlos Gorostiza the Teatro Circular de
A Lenda de um Povo que Perdeu o Mar (Teatro de Los Andes Bolvia - 1994)
(Foto: Eugnio Savio)
Ideal format
The fourth edition in 1998 brought new productions from
Asia, Africa and Central America. That year also marks the
pursue of an ideal format for the Festival, with no lacks or
excesses. Such care had the intention of avoiding the risk of
becoming a giant Festival and consequently losing operational control and quality. The programming was reduced to
11 days.
At the opening French group Plasticiens Volants attracted a
great audience, who, astonished, drove zili, the Egyptian
goddess of fertility, a huge inflatable creature, down over
several blocks of the city until the Praa da Estao. The
group again pleased the public with the spectacle Dom
Quixote, always in a true challenge to gravity laws.
In the Special Events program seven workshops were
offered, some of them dealing with fresh themes in the
Festival such as theater critique, comedy, voice, anti-theater. Two exhibitions, demonstration of methods and meetings completed the program.
Searching for alternative spaces, FIT-BH has also played
the role of reactivating spaces. After reinstating Serraria
21
Record audience
In 2002, FIT-BH reached a record public of 165.585 people,
overcoming the initial prediction of 150 thousand people.
The opening was given to group Close-Act, from Holland,
with the show Malaya, in which acrobats would balance
themselves in suspended ropes above the public, and
actors on stilts invaded the audience space, with fireworks
in the background.
Retrato da Avareza, da Luxria e da Morte
Teatro de La Abadia/Espanha/1997 (Foto: Kika Antunes)
22 First balance
The fifth edition of the Festival, in 2000, was also the opportunity for a first balance: in seven years of existence, FITBH had received 87 groups, almost 50 international spectacles and a total of 459 shows (250 on stages, 209 on the
streets), which had reached about 450 thousand people in
the nine administrative regions of Belo Horizonte. In addition to the spectacles there were the Special Events that
had offered 29 free workshops, video shows, debates and
conferences, among other activities.
The opening was marked by a courage act: FIT-BH direction booked an unexpected spectacle, O Bracelete de Jade
e Outras rias de pera Chinesa, with the group Chinese
Theater Circle, from Singapore. The huge audience who
came to Praa da Estao and was used to itinerant productions with great lighting effects, lots of noise and movement, reverently watched the 90 minutes of the show,
revealing a maturity to live together with cultural diversity.
The edition was an opportunity to homage the Circo Irmos
Simes, formed by the fourth generation of a family of circus ring artists, working hard to keep alive the fire of circus
art. The group presented the spectacle Debaixo da Lona.
Since this edition the meeting point Estao em Movimento
started functioning at the Parque Municipal, where it has
remained. Mostra Off, a selection of scenic and musical
interventions by young artists from the state of Minas
Gerais, was booked for the place.
Great projects
In its seven edition in 2004 the event celebrated ten years.
Soama - Sociedade dos Amigos do Teatro Marlia (Marlia
Theater Friends Society) replaced MTG as its production
partner.
Group Strange Fruit from Australia opened the program
with The Spheres, a night show at Praa da Estao, in the
city center, where performing actors presented themselves
on shining spheres with elements of great visual force.
The program was organized in projects, among which the
CICTs (Centro Internacional de Criao Teatral) - the
Thtre des Bouffes du Nord Peter Brook (France), featuring the performance Tierno Bokar, directed by one of the
world most important contemporary theater directors,
Peter Brook, as well as practical classes, a video show,
talks with the cast and a conference with the director;
Homenagem a lvaro Apocalypse e Terezinha Veloso
(a homage to the creators of Giramundo Puppet Theater
from Belo Horizonte), featuring Cobra Norato and the
I Seminrio do Boneco; the Teatro da Vertigem, presenting
the Biblical Trilogy (O Paraso Perdido, O Livro de J and
Apocalipse 1, 11) and workshops on technical improvement
with stage setting and performance preparation, under the
coordination of Teatro da Vertigem and Galpo Cine Horto.
In this edition there was the continuity of the proposal of
fostering the production of street theater with the creation
of Prmio Fomento Montagem de Espetculos de Rua
(Street Theater Fostering Award, an incentive to the stage
setting of street shows). Grupo Galpo, who had never presented at FIT-BH, brought two performances, O Inspetor
Geral and Um Molire Imaginrio. Project FIT Escola was
also released, with theater shows and debates coordinated
by the theater professors at the Minas Gerais Federal
University, Teatro Universitrio and the Centro de Formao
Artstica da Fundao Clvis Salgado (Clvis Salgado
Foundation Artistic Formation Center).
Some numbers
Editions
(8)
Paraso Perdido
Teatro da Vertigem/SP/2004
(Foto: Guto Muniz)
Shows
(stage, street
and alternative
spaces)
General audience
(performances
and activities)
FIT-BH/1994
92
53.700
FIT-BH/1996
117
133.000
FIT-BH/1997
64
105.176
FIT-BH/1998
88
152.054
FIT-BH/2000
102
124.029
FIT-BH/2002
89
165.250
FIT-BH/2004
118
151.000
FIT-BH/2006
120
122.823
TOTAL
790
1.007.032
23
This is FIT-BH
24
spaces (streets, squares and parks); the remaining attractions occur in theaters and alternative spaces, with access
by means of tickets which can be bought in advance in
packs at prices very accessible to most of the population or,
in the days near the event, with prices usually practiced by
the theaters in the city.
Decentralization: a minimum of five shows are programmed in every neighborhood of the nine Belo Horizonte
Regional Administrations. There is also a programming in
the cities around the capital.
Special Events: a totally free program with specialized,
free workshops, exhibits, debates, book releases, lectures,
round tables, video shows and demonstrations of the
groups' work methods, among other activities.
COMMENT
Marcelo Castilho Avellar
A blessed price that was. Belo Horizonte has today a surprisingly well-trained audience for cultural diversity. Its
artists, exposed to this diversity, started to consider it,
more and more, as an aesthetic value in itself. In a clearly
evolutionary process, they needed to adapt themselves to
those tastes which transformed themselves according to
the event. And even FIT-BH itself, in its desire to respond to
the demand, would take its own destiny in its hands, deciding to interfere in the environment instead of being conducted by it - in moments of recession in the market of
street spectacles, for example, the Festival would shift
from being a consumer to becoming a promoter of productions, guaranteeing the capacity of answering the demands
of its public.