In 1982 happen and unexpected (and undesired) event. When I lived in Rio and was looking for a job, I used to say to my friends that I would never do two things: live in Brasilia and become a christian. I had made the decisions, but had forgotten to tell God. I changed to Brasilia to open a branch office from a business from Rio. Actually, I was running from the police. I mean. I was without a job, thinking in getting engaged and got approved in the police tests when I received the invitation to open a branch office. The invitation came at the right time, because I didn’t want to be a policeman, so I tried to my family. I thought “I go, spend some time, and get back late enough to don’t have anymore time to be accepted by the police force.” I even tried, but it didn’t workout. Since then, I live in Brasilia, I stopped dating that girl and so on. Yep, a man’s heart can make plans, but the right word comes from…
The beginning of the life in the capital was really hard, lonely, but today I see it as a great moment of learning. The cultural life in Brasília always was really intense and little by little I got used to the cultural scene. I don’t remember how, but I was invited to sing at the Desediano choir, from Banco do Brasil, and after that, I don’t remember how again, I started to be a part of a theatrical group, Grupo Martins Penna. In Rio de Janeiro I had acted on some school plays, but I really started to learn about theater only with this group. Fortunately, the director was Murilo Ekardt and there was an actor without equal called Gê Martu, about whom I just finished a documentary in 2018. The group was very professional. We were rehearsing the play Chapéu de sebo. The premiere would be in february of 1983, we started rehearsing in november and didn’t stop not even for Christmas on New Year’s Eve. The production was great, but I found out for myself that the capital of the country suffers what happens in the country at a national level: we do like art… provided that it’s not from a local group. We were more than 20 people, including technical work and actors, and it wasn’t rare that we performed to a public of two or three people. Granted, we were audacious. We did a tour knowing that Brasilia didn’t have the public necessary to support that audacious initiative. But it was a great experience and I learned so much.
I couldn’t even rest from Chapéu de Sebo for I was invited to make part of the theatrical group Terra to act on the play Hoje tem marmelada, by Delson Antunes, that receive a prize for best play for children.
While all this was happening, there was an second unexpected event: I became a christian (or an evangelical as many people would like to say). And a proof that, after that everything would be better is Ranúzia. Yes, Ranúzia in the best example of how this period was life changing. She had experience with art because she sang and conducted church choirs, and had also acted on a play written and directed by his own dad. At the same time that I continued with a normal artistic life I also started producing plays that professed my faith. At this period I directed and acted in the plays O rei dos reis, Resplandeceu-lhes a luz andJugo desigual.
