Manifestação de artistas após a demolição do Teatro Ventoforte pela Prefeitura de São Paulo

A Secretaria Municipal da Cultura de São Paulo está sendo acusada pelo Teatro Oficina (e diversas outras companhias da Capital) de promover uma censura político-econômica ao voltar atrás nas regras do resultado do edital da 46ª edição do programa Fomento ao Teatro. No dia 6 de abril, a Associação Teatro Oficina Uzyna Uzona, fundada por José Celso Martinez Correa, teve seu projeto (“Universidade Antropófaga 6ª Dentição: como quebrar a quarta parede das telas? Desafios do teatro em tempos de virtualidade compulsória e as teatralidades corais como tecnologias radicais de presença”) pré-selecionado pelo programa municipal com a nota 90,33. O Oficina pediu R$ 1,4 milhão para o projeto e teve R$ 910 mil aprovados pelo edital. Mas, no último dia 9, no entanto, os 14 grupos que já estavam pré-selecionados viram-se subitamente “descredenciados” pela Prefeitura, que publicou no Diário Oficial do Município a necessidade de uma reavaliação que remete as inscrições das companhias à estaca zero. O prazo para recursos é de 5 dias.

Acontece que a possibilidade de desqualificação dos 14 projetos pré-selecionados, após meses de espera pelos recursos (o edital da Prefeitura foi publicado originalmente em 30 de setembro de 2025, quase um ano atrás), coloca em risco a própria sobrevivência das companhias teatrais. O Programa Municipal de Fomento ao Teatro (previsto na Lei Municipal número 13.279/2002), com 24 anos de existência, é um mecanismo crucial de apoio a projetos cênicos que possuam trabalho continuado de pesquisa e produção teatral. A Secretaria de Cultura enviou ao FAROFAFÁ a seguinte nota a respeito do episódio:

“A Secretaria Municipal de Cultura e Economia Criativa informa que é incorreta a afirmação de que houve desclassificação ou exclusão de projetos, até o momento, no âmbito da 46ª edição do Programa Municipal de Fomento ao Teatro. A publicação desta terça-feira (9) no Diário Oficial da Cidade tratou-se exclusivamente de um primeiro resultado da análise da documentação apresentada na etapa de inscrição pelos coletivos. Os projetos que tiveram inconsistências documentais apontadas, como ausência de assinaturas obrigatórias, não apresentação de documentos exigidos ou impossibilidade de comprovação da autenticidade documental, têm o prazo de 5 dias para entrega da documentação pendente. Também não procede a informação de que houve mudança de entendimento da Secretaria em relação ao uso de assinaturas digitais rastreáveis. O edital sempre exigiu a apresentação de ‘assinatura juridicamente válida’, requisito que permanece inalterado e difere do entendimento mencionado. A Prefeitura garante que os recursos destinados ao programa permanecem integralmente assegurados, e o processo seletivo seguirá seu curso regular, com a reclassificação dos projetos em condições de habilitação de acordo com a ordem de pontuação estabelecida no edital”.

Ruy Cortez, diretor teatral e artístico da Companhia da Memória, que teve o projeto Charlotte – Pentalogia do Feminino como um dos 14 contemplados, também protestou contra a decisão da secretaria. “A atual gestão da Prefeitura, por meio da Secretaria Municipal de Cultura, desclassificou cerca de 70 projetos dessa edição da Lei de Fomento ao Teatro depois que eles já tinham passado pela analise documental, sido avaliados e selecionados por uma comissão julgadora e tido seus resultados publicados oficialmente”, afirmou Cortez. “A justificativa usada para o indeferimento não estava prevista no edital e a decisão aconteceu após meses de atraso e cobranças públicas dos grupos pela contratação dos projetos. E ainda depois que os grupos tinham sido chamados para formalizar o aceite da readequação orçamentária. A Secretaria de Cultura está claramente perseguindo politicamente o teatro de grupo de São Paulo, além de incorrer em desvio de finalidade e improbidade administrativa. Isso é um absurdo. É totalmente inaceitável!”.

O Grupo Uso Teatro Urbano, classificado no edital por intermédio da Cooperativa Paulista de Teatro, foi a público também se manifestar. André Capuano e Gil Caverana, acusaram a morosidade do processo de contratação do edital, que os colocou dois meses em inatividade, sem conseguir obter resposta da Secretaria de Cultura sobre o caso. Eles exigem a contratação imediata dos 14 projetos selecionados pela Prefeitura de São Paulo. A companhia Motosserra Perfumada também externou sua posição: “Fomento ao Teatro é uma lei exemplar para todo o mundo; o resultado de anos de luta do setor. A decisão de sua Comissão de Seleção precisa ser respeitada”, afirmaram Biaggio Pecorelli e Camila Rios.

O Teatro Oficina considera o episódio um caso de “ataque político violento” da parte da administração municipal. A atriz, poeta e videoartista Cafira Zoé leu um manifesto da companhia sobre o incidente nas redes sociais: “Nos colocamos publicamente na barricada, ao lado dos teatros de grupos que tiveram seus projetos politicamente indeferidos”, afirmou ela. “Convocamos todos os povos da cultura, do teatro, do teatro de grupos y companhias, todos os povos em luta contra o massacre da vida na cidade de São Paulo, em luta contra a monocultural neoliberal do pensamento, contra a especulação das nossas vidas y contra o país do indivíduo, a se juntarem a nós”, prosseguiu a nota oficial do Oficina.

A companhia Galpão de Folias também veio a público. Segundo o grupo, a companhia está prestes a entrar em estado de emergência pela demora na ativação do Fomento. Estão com aluguel e salários atrasados e esperam cumprimento dos prazos institucionais. “Recebemos um corte de 30% no orçamento e enviamos o pedido de readequação para executar o projeto na íntegra. ​Esse processo demora, no máximo, 5 dias. Nós — e mais 13 projetos selecionados — estamos esperando há mais de dois meses por respostas e pagamento”, afirma o texto. “A nossa vida está parada! O teatro de grupo exige dedicação, não podemos simplesmente assumir outros compromissos enquanto aguardamos”.

O aspecto de censura apontado no comportamento da Secretaria de Cultura, capitaneada por Totó Parente (que já se comprometeu a reconstruir o Teatro Ventoforte, demolido pelo prefeito, publicamente, e não moveu uma palha), consiste no fato de que alguns dos projetos selecionados apontam para pesquisas de teatralidades afrodiaspóricas, indígenas, circenses, nordestinas e LGBTQIA+, temas que são combatidos pela extrema direita brasileira. O período eleitoral acirrou essa aversão. Ao mesmo tempo em que faz jogo duro com projetos de teatro amplamente debatidos por comissões, a prefeitura se torna famosa nacionalmente por fazer negócios milionários com uma obscura produtora de eventos, Karina Ferreira da Gama, pivô de um escândalo cuja dimensão está crescendo continuamente.

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