Now let's address the monologues how reflectes about this type of wireless connection shows where you are alone on stage.
NP: Yes, but there is a very strong network that is indulged and my domain, there is another very strong component that is feeling the breath of the audience that something physical is not philosophical and is a matter of being open to that. Of course, a monologue is more complicated, because if something happens we have some say in the text that we have forgotten, or when we feel on a given day our energy is down we have nobody, is more complicated in that sense, but It is a process. Any play undergoes a period of testing to prepare yourself the best to later debut. I believe this pragmatism that no one knows better the show that you do, so art thou that rulest and worked for it, the scary thing is ...
The interaction of the public?
NP: It does not scare me, because we are open enough not to fall into what the public wants many times that is the easy laugh, so we have to have to have good taste not to run with the improvisations of what is the essence of the show . This show is very closed accordingly because any improvisation must be connected to the narrative, because otherwise you lose. The play is the same voice that I who am the interpreter, the story is always stronger than any character and improvisation.
Your work is also recognized for being very itinerant. However, for some years they had a specific landing site that is the theater Helena Costa Sá, but returned again to the beginning, why?
NP: It not compensated in a single closed site, although the theater had all conditions. It was a monetary issue. Even so, our roaming was strong, we do not just stay closed, one way to survive is to be in several places, because these are places that pay us to be there and thus the "toothed insole" is made known as possible.
Addressing this aspect of roaming in another perspective, as is looking at culture now that the state provides little or no support and after some controversy in the distribution of DG arts contest, how do you look at that? You have always been independent, because some argue that the state should support groups.
NP: Yes, we are of the same opinion and even thought it should be in most cases lost funds. Culture theory is not something that will have to give money back to own Secretary of State, is not a return site, but investment in their own structures to survive, create job positions and public services. The culture as education is a personality trait of a society from the moment that there is investment in that area. Of course, we are talking about several views that differ in some points, but the way we looked at it is very quiet, because the "toothed insole" has always lived from the beginning without subsidies, never felt to have more money, or less money directly, clearly it affects us, because there is investment in these theaters to be able to buy performances. Ails us that where we first cut is culture, from our point of view hope it improves and when I say this I speak of support allocation system is very bureaucratic and with the latter contests, when 40% of structures were excluded for bureaucratic reasons and often this aspect goes beyond the artistic question. The most important culture is this artistic side and this bureaucratization of the culture in some way saddens it, because we seem to invest more in training than bureaucrats rather in our own work which is to create performances and public loyalty and often thought if that assigns a grant to work on now, but no one thinks of the loyalty now, the goal is to make people feel captivated and back and this takes time, it has to be thought of in the medium and long term than the short term .
Addressing this issue of loyalty, then define me who the public "thoothed insole"?
NP: All public.
But what is it at all?
NP: All.
But since you said you do not make an easy humor, so I do not think it's any kind of audience that appear in your shows.
NP: Yes, but the shows have layers under layers of readings and the person who will go for the first time and has no reference to other public has'll see the play and enjoys a more comic layer and is captivated. The second time it appears in our shows get to see other things and enjoy the second layer and the public training is happening as well. We started as a café-theater and cabaret in "tertúlia Castelense" and that audience is the most faithful to the more philosophical plays, ie, was the same audience, only will finding a different way to see the parts and the feedback we get It is very open.
Not physical?
NP: But this is also great (laughs). It is a very open contact, we had a show at a time, it is Rodrigo who tells this mishap, a spectator reached at the end and said what the f..... is this? I bring a lot of people with me telling them that the play is brutal and you have this crap? This is one of the feedback we have heard, but the best we have is the loyalty of our audience and the proof is in which we presented a show at the theater cheerful field and thirteen years later still have audience with an average of 100 people, which is very good, our facebook page which is also a meter, sharing what we have and from own theater class of this kind of company on the sidelines this integrated.
