Controversial piece by Zé Celso ended up in the Justice of Araraquara and another was vetoed; remember

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The show ‘Mistérios Gozosos’ was accused by a priest of desecrating Catholic religious objects, in 1995. Two years later, City Hall vetoed the play ‘Bacchantes’, but withdrew. Scene from the play ‘Mistérios Gozosos’ and the playwright Zé Celso Cedoc EPTV/Arquivo Natural de Araraquara (SP), the playwright Zé Celso Martinez Corrêa, who died this Thursday (6) at the age of 86, collected some controversies in the municipality, in the 1990s. In June 1995, the play ‘Mistérios Gozosos’, which addressed sex and the Catholic religion, was the subject of a lawsuit by a priest for alleged desecration of religious objects. The process has been archived. Share on WhatsApp Share on Telegram In 1997, Zé Celso had his play ‘Bacchantes’ vetoed by the then president of the Arts and Culture Foundation of Araraquara, Martha Estela Lupo. (remember the controversies below). Zé Celso had been hospitalized on Tuesday (4) in the Intensive Care Unit (ICU) of the Hospital das Clínicas after a fire broke out in his apartment, in Paraíso, in the South Zone of São Paulo. He had 53% of his body affected by burns, was sedated, intubated and mechanically ventilated. READ ALSO: Playwright Zé Celso Martinez dies at age 86 in São Paulo Araraquara, decrees official three-day mourning for the death of playwright Play ‘Mistérios Gozosos’ Controversial play by Zé Celso, ‘Mistérios Gozosos’ ended up in court in Araraquara Zé Celso and the actors of the play were accused by priest Oswaldo Baldan of offending the eucharist and religious rites during a scene of “Mistérios Gozosos”, presented in June 1995 during the Luiz Antonio Martinez Corrêa Week. The event honors the playwright’s brother, murdered in 1987. The controversy ensues in the scene in which actor Marcelo Drummond, who played Jesus, offers his ‘body and blood’ to another actor in the form of bananas and champagne. (remember in the video above). “A very big affront. Within a line of pornography, of explicit sex. An unimaginable thing. You cannot imagine what that piece was”, said the priest at the time. Scene from the play ‘Mistérios Gozosos’ by Zé Celso, in Araraquara Cedoc EPTV/Arquivo The playwright and actors were summoned to give evidence to the police. In his defense, Zé Celso defended the use of the banana to symbolize the ‘body of Christ’, saying that it is a ‘fruit from the land of tropical paradise and a totem of Brazilian culture’. The case ended up in court with the accusation of desecration of religious objects and filed in February 1997 and later in 1998. The first decision was celebrated by the playwright. “Freedom of expression is not enough. More is needed, freedom of production is needed. This judge who rejected the complaint opens a very important path. We are going to travel the countryside with a piece that will cause much more scandal for people who have a small vision of the world”, said Zé Celso in 1997. Play ‘Bacantes’ vetoed In June 1997, the then president of Fundart de Araraquara, Martha Lupo Stella, vetoed the presentation of the play ‘Bacantes’ in the municipality during Luiz Antônio Week, after the controversy with the 1995 play. (remember in the video below). After controversy, Fundart de Araraquara even vetoed a play by Zé Celso in 1997. The decision generated revolt and artists from the municipality stated that it was a boycott of the director. “The play was not banned, Fundart, through its council and the city hall, does not want to bring, sponsor and promote Zé Celso’s play”, said Martha on June 14, 1997. After a lot of pressure, both from the City Council As for Unesp in Ararquara, which threatened to withdraw its support for the event and not participate in Luiz Antônio Week, Fundart backtracked and allowed Zé Celso to use the Municipal Theater. Zé Celso after the presentation of the play ‘Ela’ in Araraquara Cedoc EPTV/Arquivo As the decision was last minute, there was no time to keep the play ‘Bacchantes’ and Zé Celso took the shows “Ela” and “Pra give an end to judgment God’s”. “I’m very happy to have done it, but at the same time sad for not having done it with the perfection that would have been with the general rehearsal. Everything was against it, but we managed to be here doing Luiz Antônio Week and the play ‘Ela’ was performed” , said the playwright at the time. Who was Zé Celso The playwright, who was born in Araraquara, in the interior of São Paulo, in 1937, is known for the eccentric and daring way of putting together his plays and provoking the audience. In June of this year, Zé Celso married Marcelo Drummond, 60 years old. Wearing white suits, the couple made their relationship of almost 40 years official in a ceremony at Teatro Oficina Uzyna Uzona, headquarters of the theater company created by the playwright in the central region of São Paulo. Zé Celso began his career at the end of the 1950s with two plays of his own: “Vento Forte para Papagaio Subir” and “A Incubadeira”. His artistic influence went beyond the stage, also appearing in cinema works, such as “O rei da vela” and “25”. Zé Celso dies at the age of 86; remember the playwright’s career Without fear of experimentation and with a constant desire for renewal, Zé Celso provoked actors and audience, creating a more sensorial theater, always guided by the political reality and culture of the country. He studied at the Faculty of Law of Largo São Francisco, where he participated in the Academic Center. The director did not complete the course, but it was during his university period that he founded the Grupo de Teatro Amador Oficina, at the end of the 1950s. Restless and irreverent, the artist stood out with his montages of collective creations. In 1961, the group gained headquarters on Rua Jaceguai, in the center of São Paulo, and became professional, becoming the traditional Teatro Oficina. Since 1982, Teatro Oficina has been listed as historical heritage. The company is considered one of the longest operating in Brazil. José Celso Martinez Corrêa during an interview held at Teatro Oficina, in São Paulo, in an image from September 1995 Agliberto Lima/Estadão Content/Archive In 1964, Zé Celso took the play Andorra to the stage, which marked his transition from realism to a theater with a more critical posture, inspired by the epic theater of the German playwright Bertolt Brecht. During this period, Zé Celso traveled to Europe to deepen his studies on Brecht. Years after his return, the director took the German text “Galileo Galilei” to the stages of Oficina Improviso on stage, provocations in the audience In 1966, the theater headquarters was destroyed by a fire caused by paramilitary groups. For the reconstruction of the space, the group raised funds by performing revivals of old hits on stage. At the end of the 1968s, Zé Celso took his first play outside Teatro Oficina to Rio de Janeiro. On the occasion, he directed Chico Buarque’s historic show Roda Viva, with a provocative tone. The show was revived in 2019. Zé Celso and José Mojica Marins in ‘Encarnação do Demônio’ Publicity In the play, the actors physically incited the audience, initiating something that became a hallmark of the director’s works. With the following works, Zé Celso increased even more the sensorial projects, which stimulate the actors to improvise and put the audience in a secondary position. These initiatives by Zé in transforming the relationship between the stage and the audience came to be transformed into a movement called te-ato. Exile in Portugal The members of Teatro Oficina were persecuted by the military regime. In 1974, Zé Celso went into exile in Portugal after being detained for 20 days and tortured. During his exile, he presented some plays and directed the documentary O Parto, returning to Brazil in 1978. In the 1980s, Zé Celso stayed away from the stage, dedicating himself to research and workshops given in space. Actor/director Zé Celso, in the center, and actors in a campaign for works for Teatro Oficina in 1983 Geraldo/Estadão Content See more news from the region at g1 São Carlos and Araraquara.

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