TEDxSP 2009 - Guti Fraga from "Nós do Morro" - 1 Translation(s)

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TEDxSP 2009 - Guti Fraga from "Nós do Morro"

Duration: 18 minutes and 16 seconds

Country: Brazil

Language: Portuguese (Brazil)

Genre: None

Producer: TEDxSP + colmeia

Director: Julio Taubkin

Views: 282 (22 embedded)

Posted by: tedxvideo on Nov 19, 2009

Speech from Guti Fraga, from "Nós do Morro"

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Good morning all.
Good morning!
"Good morning."
Oh good, let's awake, I'm the last one in this block.
I'm excited, I'm nervous, let's share this, geez.
Right?
I'm very excited by everything is happening
I can't miss to say
to notice in this TED movement, guys so much different from each other
a movement did by young people, so integrated, so up to, so different in favor of a common goal
out of the blue to find a so diversified audience in favor of a common goal
there's no way to not be excited, I'm here totally excited to talk about a life
the 23 years old of Nos do Morro.
What is Nos do Morro?
Whoever doesn't know, Nos do Morro is a theater and cinema project
which arose from Morro do Vidigal, in Rio de Janeiro
and I... I don't know... I've created this project because
sometimes I say that I was a poor guy that got all the opportunities in life
and maybe that, somewhat had influenced in a decision in my life.
I'd opportunities, I could work, maybe, with great important people, at least in my opinion
maybe great people, the greatest important people in the Brazilian theater
Amir Haddad, Boal, Domingos de Oliveira, in short
Marilia Pera that was the vital person in my life.
That dream we have, especially the artist, sometimes they dream about this thing to be
at the Rio-Sao Paulo big axis
that whole thing, and I... geez... with Marilia was really important
I've got to live that, to often go to great restaurants in Sao Paulo, Rio, that whole thing.
But when I moved to Rio, I'm also an immigrant, I'm an immigrant, from Mato Grosso, Goias
and I went to live in Rio
and when I go to live in Rio, I go right straight to live in a slum
in Morro do Vidigal
which is a really beautiful place, a beautiful view, in which many artists were living.
But always that thing about a shattered slum.
And I arrived, and there automatically was a great integration between my life and that community
and then I met many people
who had great talents but no opportunities
So, that opportunity question was a thing that moved me all the time to
unlikely paths.
Right?
And the art to give this power, to travel, unlikely travels
And, one day actually
just to get at the point where the bell rang about this thing to found Nos do Morro
I went to New York with Marilia in '85
and I already had a relationship with the community, this whole relationship
and when I got to New York, everybody willing to go to Broadway, and I went to Harlem.
I wanted to see what people there were doing
I wanted to see what the people living in slums there were doing
I wanted to see the Blues at squares, the Blues at bars in there.
Like Samba in bars here, that whole thing .
I got there and faced this really crazy idea
and everybody: "No, be cautious", "Look, it's dangerous".
And that's true, is dangerous, the scoundrelism is universal, right?
And we learn that.
And I got there, man, and I went... I went, and I saw things that touched me
I saw things that I said: "Holy crap, that's what I want to do".
I've entered in small places like that would fit ten people.
Then you're seen a well done lighting, you're seen a well done scenery, you're seen amazing actors.
Then I said: "Holy crap, that's what I want".
I back defined from there
I back and said:"But how? How I could suddenly drop a lifestyle that I conquered during all life, right?
And then drop all this
geez
I knew I was backing to Rio and I'd back to eat a cheap lunch a day.
But that was the thing getting into my soul, then I got it and I did it.
I back to Rio, quit my job with Marilia.
And I decided, I got to the community and I told: "I'll found a project".
But I don't want to simply assemble a theater company
I wanted to assemble a theater company where the quality would be essential
but above all, the philosophy of life.
That philosophy of life would probably be the change inside the goal, right?
Where the basis would be the collectivity.
That's why we are Nos do Morro.
If you have a multiplier idea
it's a multiplication of your soul
it's your desiring to multiply that you had opportunity.
To multiply for those who desire, for those who dream.
For you to have solidarity.
We talk about solidarity, looks like a media thing, solidarity is sometimes simpler.
Sometimes is the look into your eyes, I don't know, and you notice a hole in your soul
and I'm suddenly right at your side, I'm sharing, I'm being sympathetic
I think maybe if I grab your hand I'd be sympathetic
or even at practice, we get together and help to buy gas that he doesn't have.
Did you get? So, that to me was vital.
Now, along with it there was discipline, organization, responsibility, because that isn't square
that's the only way to get things working.
I say that because I always like to be repeating these things, because that is the differential.
Because I never wanted to create a theater project for people to become famous
No, but to become a nice artist, however a human artist, a different artist, a nice citizen.
Where "excuse me" is still in use, "please" is essential.
"Thank you very much" to be essential.
To give the sit to an old person to be essential.
Don't drop wrapping paper at street to be important.
So, since 23 years now we do that and fighting hard in a thing called stereotype
which is a theater company from slums, people thinking you're pretending to do theater
and I, with all the experimentation I had
I was looking for a new path
a methodological path that I could...
Like Paulo Freire in theater
a thing like that, a path that I was looking for that I believed to be transformer
In short
And when I found, I thought
to produce plays talking about the community inserting classics from Brazilian literature
to also have the possibility to you, above all, bring this audience that didn't have access to theater.
and like that I've found Nos do Morro
I've to get haste
and... so crazy... I'm so nervous
and in that story...
Thank you. Thank you for your support, I'm really nervous.
And, during this whole thing you are wandering and look like you're not a citizen
and look like you become a citizen when you get an ID and in our case the ID is when you win a prize
And that happens to our life.
When we've produced in '93 "Machadiando", three stories by Machado de Assis.
It was a turning point, I mean
if I'd tell all the turning points here, we'd be here all day long counting turning points
because it's about 23 years intensively living, 23 years surfing on a no way back wave
in the tube, really.
So, then...
When we've produced Machado de Assis, we've accomplished to get to Vidigal, a slum
for the first time, a great theater critic, Mrs. Barbara Heliodora
We've accomplished to do our first documentary
which the photographer is, by the way, Estevao, who I don't know if he's here, Estevao Cevata.
And then we won our first Theater Shell Awards.
Think, it's the first time that a theater group from a slum wins a Theater Shell Awards.
That was already weird.
And we firmed a first partnership with
Cicely Berry who's a voice director from Royal Shakespeare Company
which is the greatest Shakespearean company from Stratsford in England
where Shakespeare has born and we had that opportunity.
Sometimes is really crazy, sometimes we meet people that we don't know
looks like we have a story from past lives, from other... I don't know
looks like souls meet each other, looks like they have the same frequency
and Cicely was one of them in my life.
We'd met, we'd knew each other
And we were invited to debut in an exposition of complete works by Shakespeare, four years ago.
We were a Brazilian group that had the opportunity to live inside there
this whole life...
I think, turning points, we also had that great privilege to perform City of God
which was important in our life
because Fernando Meirelles and Katia Lund were great with me and let me comfortable
to create the possibility for one thousand people from all the communities
to form a group of one hundred people
and create a workshop during three months intensively working
and I always say that one of the great successes of City of God is the collectivity
because people have learned to live together there
working, looking for, trying
where didn't have hierarchy to creation
where didn't have hierarchy for freedom to create.
Then, when they found that, Fernando used to often go there, Katia...
Then, when they found that they were the directors they already had intimacy
"Fernando, please give me a glass of water".
then they didn't have that thing "THE director"
you know, that thing that sometimes gets people apart
that you don't have that intimacy, that freedom.
I think that, there are many, many turning points in our life.
Today, for us to be in the labor market
in the country, as in cinema as in television
but our goal, our main focus is the theater
I always say when people come after us at the hill
theater there isn't a theater school
there's for you to intensively live art.
That is, there's no end for you to share life through art, there's no end.
You eternally live sharing, looking for, trying
this collectively from trying, that is transformer
the transformer is the possibility for you to be in the 8 o'clock soap opera or in Broadway
and you don't lose your simplicity that's in your bases, helping to paint, helping to sweep
to be down to earth, I think that is how we can change a society
to change a society is to be here together talking about life
I think we're living a great changing time
I'm living a moment of great hope in my life.
However, it's sure we've got great problems to solve, because no one lives by visibility
people live by tough routine, routine isn't simple
I think we've yet to look for and to find a better way about what is a cultural support.
We've a support from Petrobras which is really important
there are six, seven years we're sponsored by Petrobras now
because, before... we never sold
misery, because sometimes people want to be sponsored and then we have to tell: "poor thing"
I hate that, I hate paternalism
I think we have yes to sell the possibility, whoever wants to dream
and we can get there and teach the better we can dream
and people just need opportunities.
I think through these opportunities we can live for real
because instead of it, that become paternalism and it's what troubles our country
How was given the example here
How was given
How was given the example here today, for instance, about the tank truck still giving votes
the market basket still giving votes.
I think art has this power, that at least makes you to have your own opinion.
When you have an opinion, when you have the courage to expose your opinion
Do you know? You already are a different human being
and art has this power to change you in this different being.
I can't extend, I have so many things to tell
But I can't extend, because I rather to pass a 3 minutes length video.
For you to take a peek in some faces of the children there, because I always say a very crazy thing, man.
That thing... I never pay favors to no one, the great privileged in this thing it's me.
I'm the privileged, because for you to be a link of possibility, man...
Nos do Morro is sponsored by Petrobras since 2001
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