Home / Art / Mounting 'Audience', the Czech Václav Havel, celebrates 30 anniversary of the Velvet Revolution, which marked the beginning of the democratization process in the Czech Republic
Mounting 'Audience', the Czech Václav Havel. Photo: Luis Felipe Labaki.

Mounting 'Audience', the Czech Václav Havel, celebrates 30 anniversary of the Velvet Revolution, which marked the beginning of the democratization process in the Czech Republic

Translated from the Czech by Luis Felipe Labaki and directed by Juliana Valente, piece of collective School It is critical to authoritarianism. Show debut SP Theater School Day 29 November

Shortly staged in Brazil, of the poet, playwright, activist and former Czech president Vaclav Havel (1936-2011) It was one of the leaders of the Velvet Revolution, peaceful movement responsible for ending the communist authoritarian regime in the former Czechoslovakia. To mark 30 years of this political upheaval and create a reflection on the value of democracy, the collective School debut the show "Court hearing", directed by Juliana Valente and translation Luis Felipe Labaki, SP in the School of Theater - Room Hilda Hilst, on 29 November. The season continues until 16 of december, with tickets for up to R $ 30.

Advertising: Banner Luiz Carlos de Andrade Lima

Critical to authoritarianism, Havel was unable to have their plays performed during the time that became known in the country as "standardization" (1968-1989), period of resurgence of the communist regime that ended with the liberalization process occurred in the Prague Spring (1968). In 1974, financial difficulties, the playwright was forced to work for a few months at a brewery in the town of Trutnov.

This experience served him the inspiration to write the play "Audience" (1975), which tells the visit of former playwright Vaněk (assembling the School Collective, played by MARO Zamaro), a kind of author's double, to his head office, Master Brewer (Pedro Massuela). Spilling several bottles of beer, the boss asks the child about his previous life to dull due to roll the barrels of beer and about the actresses and personalities who lived in the theater.

In the conversation, Master Brewer remembers the old days themselves, pours over their disappointments and proposes Vaněk a new job in exchange for a favor. The poet and playwright dissident should help write the reports requested by the Secret Service about his "subversive" activities.

"The play presents us with a clash between two world views. Vaněk and Master brewer have life experiences and perspectives differ widely among themselves. And this friction is the first thing that draws our attention. I could say that this structural aspect of the play deep dialogues with the serious political polarization that we live in Brazil ", account director Juliana Valente.

Both impacted by totalitarian, the "workers" and "intellectual" develop deep thoughts about life at a time of sharp class differences and censorship in a supposedly egalitarian environment. "Another aspect brought by the text is the question about the place of the artist and intellectual in society. This is a discussion that currently has gained ground due to the devaluation process of the artist and intellectual in general knowledge that we are living ", adds the deviser.

The show has the proposal to defend democracy and freedom of thought and expression, threatened before the turbulent current world political scene, and discuss how totalitarianism is harmful in any scheme.

The piece has soundtrack performed live by Francisco Turbiani and Luis Felipe Labaki and scenario also signed by Juliana Valente. The audience is disposed face to face, with scenic elements arranged in a hallway. "One of my first concerns about the direction was the creation of the environment of a brewery. This appears in scene elements and props, but also relates to the choice of showing the musicians on stage, characterized as employees of this plant ", said director.

Vanek trilogy

In addition to "Hearing" (1975), Havel wrote in the late 1970 other two parts with the same protagonist, playwright Ferdinand Vaněk: "Vernissage" (1975) and "Protest" (1978). The character - and even a picture of Havel - was also appropriate for other playwrights Czechs, como Pavel Kohout e Jiri Dienstbier.

The three works were widely circulated in Czechoslovakia as "samizdat" (illegal disclosure of censored publications by totalitarian regimes in Eastern Europe) and reinforce the author's reputation as a leading dissident politicians of the country. After the premiere of "Audience", Collective School plans to set up the other two parts of this sequence.

Vaclav Havel

Born into a wealthy family of businessmen and intellectuals, Havel emerged as a writer and poet in the mid 1950 and began his career in theater 1959 as a stage technician at the Theater ABC, in Prague. His first piece, "Night Family", It was written in the same year. He became known as a playwright with the success of the pieces "The Feast in the Garden" (1963), "Release" (1965) and "The Growing Concentration Difficulty" (1968), who were harsh criticism of the oppressive regime and the modern contemporary man situation.

Because of the political militancy, Havel was arrested in different occasions and prevented from having his plays performed during the period of "normalization". His long stay in prison happened between 1979 and 1983.

A few years later, Havel lead the Civic Forum movement, formed in the emergence of the protests of the Velvet Revolution, that the day 17 th November of 1989 ended the communist Czechoslovakia. Because of his writings on freedom of expression and thought, Havel was the spokesman of the movement, It is responsible for negotiating with the communist regime the transfer of power and spearhead the transition between governments.

That same year, the playwright was elected the last president of the Federal Assembly. With the independence of Slovakia, in 1993, he was also elected the first president of the Czech Republic and ruled the country until 2003, for two terms.


Actress, director and art educator, Juliana Valente graduated in Performing Arts with specialization in Theater Interpretation by the School of Communication and Arts of USP since 2012. Acted in spectacles "The Ends of sleep" (2016); “Marie” (2014); "The Spa" (2012); "Salem" (2013), created from the text "The Crucible"; "Horacio" (2012), Adapted from text by Heiner Müller; “Madrid 36: Reminiscences of the Spanish Civil War " (2010); "A bird in the hand" (2009), adapted workpiece "The Seagull" by Anton Chekhov; "First stories" (2008), adapted from the book by João Guimarães Rosa; and "Today is rock day" (2007) Jose Vicente. Made steering assistance of the show "The Son of No Moony Chora", de Tennessee Willians (2018) showing at Small Act Theater.

As an art educator, He directed between the years 2012 and 2017 the shows "The Rhino", Text adapted from Eugene Ionesco; "The Exception and the Rule", free adaptation of the text of Bertolt Brecht; "The Enemy of the People", Text adaptation of Henrik Ibsen; "The Inspector", collective creation from the text "The Inspector General" by Nikolai Gogol; "The Pit and The Thief", adaptation of tales Mario de Andrade; "He who says yes and who says no", from the text of Bertold Brecht; "The Standard is to be happy"; "Reflections of Me"; "The chalk circles", freely inspired by the text "The Caucasian Chalk Circle" Brecht; "Essay on Intolerance"; "The Purple and The Roses", freely inspired by the text "The Horatii and Curiácios", the Brecht; "Our Part"; "Either This or That"; "Choices"; "The Chronicles of Maria Joaquina"; "A Piece of Terror"; "How to Cheat Death", from Ricardo Azevedo tales; "The Meg" e "Hamlet", adaptations of William Shakespeare's plays.

No Cinema, acted in the films "A Royal Guard" (2019), written and directed by Luis Felipe Labaki, e em “Jennifer: Girl black skin " (2010), written and directed by Renato Candido, WILL contemplated by the State of São Paulo.


It filmmaker, translator of the Russian language and composer. He directed the short films "The Pracinha of Odessa" (2013), "That such a life, comrades?” (2017) and "A Royal Guard" (2019). To the theater, He wrote two pieces for the Collective School of Theater: "The Spa" (2012) and "The purpose of sleep" (2016).

Master Media and Audiovisual Process ECA-USP, and defended in 2016 his dissertation "Viértov on paper: a study of the writings of Dziga Viértov ". In 2017, was co-curator of the Soviet documentary cycle "100: De Volta to the USSR ", that integrated the 22nd edition of It's All True – International Documentary Festival. In 2018 and 2019, integrated international short selection committee of the festival. Between 2011 and 2015, collaborated with the collective NME (New Music Audio Technology), participating in the production of concerts in different cultural areas of Sao Paulo and performing acousmatic and videos parts for group projects. Between 2014 and 2015, He participated as a monthly contributor to the beautiful electronic magazine, focused on music and experimental art.

In addition to acting as editor and composer of soundtracks, working as a Russian translator, having published "I forgot how to Flame", by Cosac Naify (2015), collection of children's stories of Daniil Kharms.


Formed by the meeting of artists, students and alumni of the School of Communication and Arts of USP (ECA-USP), Collective School appeared in 2012 with the premiere of "The Spa", one text adaptation "An Enemy of the People", the Henrik Ibsen, to the São Paulo coastal context. The opening work was contemplated by ProAC - First Works State of São Paulo and circulated that year the cities of São Paulo, Cubatao, Mongaguá, San Vicente and San Sebastian.

In 2015, the group began a new search linked to the world of work and its implications in large urban metropolises that originated the show "The Ends of Sleep", an unpublished text from the book "24/7: Late capitalism and the purpose of sleep ", de Jonathan Crary. The play was performed in an artist residency in space headquarters of the Vertigo Theater, within the project "New directors", with funding from Petrobras / Federal Government.


Czechoslovakia, the 1970. Working in a brewery within the country, playwright Ferdinand Vaněk is summoned to the office of the Master Brewer. Between a bottle and another, the boss asks Vaněk about his life in the arts, its adaptation to the new environment and it makes a proposal that tests the limits of his ethics.


Dramaturgy: Vaclav Havel
Tradução: Luis Felipe Labaki
Direction: Juliana Valente
Performance: Maro Zamaro and Pedro Massuela
Musicians on the scene: Turbiani Francisco and Luis Felipe Labaki
Sound: Luis Felipe Labaki
Lighting: Francisco Turbiani
Scenario: Juliana Valente
Costumes: collective creation
Production direction: Francisco Turbiani
Press Office: Bruno Motta and Veronica Domingues - Agency Phatic
Support: Consulate General of the Czech Republic in Sao Paulo
Institutional Support: SP drama school
Realization: collective School

Court hearing, de Vaclav Havel
SP School of Theater - Hilda Hilst Room - Square Rooosevelt, 210, Republic
Season: 29 November to 16 of december
on Fridays, Saturdays and Mondays, at 9:00 pm; and on Sundays, at 19h
Tickets: $ 30 (entire), R$15 (half-price and entry-friend) and $ 10 (learners SP Theater School)
Accept debit cards and cash.
Selling tickets online through the website Sympla.
Rating: 12 years
Duration: 75 minutes
Information: (11) 3775-8600
Facebook: @ColetivoCardume
Instagram: @coletivocardumedeteatro

Leave a Reply

Your email address will not be published. Required fields are marked *