BASTIDORES DO FENÔMENO SAI DE BAIXO - MARISA ORTH | EMBRULHA SEM ROTEIRO

Cortes Embrulha sem Roteiro

6 Dec 202207:23

Summary

TLDRThe transcript captures a lively discussion about the challenges and experiences of theater production, particularly focusing on the weekly process of 'Sai de Baixo,' a play from the 90s. The conversation highlights the intense rehearsals, the pressure of performing in front of live audiences, and the evolution of the script through numerous rewrites. It also touches on the collaborative efforts of the cast and crew, the influence of director Miguel, and the transformative impact of comedy on the speaker's career. Personal anecdotes and humorous moments are interspersed, providing a glimpse into the passion and dedication required in the world of theater.

Takeaways

😀 The speaker recalls presenting MB and mentions 'Sai de Baixo,' a popular TV show from the 90s.
😄 'Sai de Baixo' aired from 1994 to 2000, and it was a challenging weekly process with rehearsals.
🤯 The production required intense rehearsals, with actors improvising a lot and often delivering multiple sessions.
🤔 The cast would gather for script reading, discussions, rehearsals, and recordings in a fast-paced environment.
😅 The process involved cutting scripts, marking scenes, and performing before live audiences.
🤣 Improvisation was common, and actors found the process physically and mentally exhausting but rewarding.
🤓 The speaker gives credit to Miguel for his role in shaping the characters and script in the early stages.
🙃 The speaker shares personal experiences, such as dealing with actors deviating from the script (referred to as 'Caco').
😲 The speaker admits having had a prejudice against comedy at first, believing it was less serious than drama.
🧐 Despite the initial struggle, the speaker learned to appreciate comedy, crediting directors and experiences for their development as an actor.

Q & A

What time period is being discussed in the conversation?
-The conversation refers to the mid-1990s, specifically around 1994 to 1995, when the show 'Sai de Baixo' was at its peak.
What is 'Sai de Baixo' and what role did it play during the period discussed?
-'Sai de Baixo' was a popular Brazilian TV comedy show that aired from 1996 to 2002. It was a weekly program with live audience recordings, and the cast rehearsed intensely each week.
What challenges did the cast of 'Sai de Baixo' face during production?
-The cast faced intense weekly rehearsals, where they had to read, mark, and pass through multiple segments of the show in a single day. They often improvised due to the pressure of delivering new content quickly.
What was the process of rehearsing for 'Sai de Baixo' like?
-The process involved reading the script on one day, rehearsing the next, and then performing in front of an audience twice in the same day. The cast would constantly mark and revise scenes throughout the day.
Who was responsible for writing the scripts for 'Sai de Baixo'?
-The script for 'Sai de Baixo' was coordinated by Cláudio Paiva, with a large team of writers contributing to the episodes. However, Miguel Falabella played a significant role in formatting the characters at the beginning of the series.
What role did Miguel Falabella play in 'Sai de Baixo'?
-Miguel Falabella not only acted in the show but also helped format the characters in the beginning. He was known for his improvisations and frequent critiques of the script.
How did Marisa Orth contribute to the rehearsals?
-Marisa Orth had a key role in rehearsals, often pointing out weaknesses in the script and suggesting changes. Her instincts and experience were highly valued by the cast.
How did the cast handle the live audience performances?
-The cast performed twice in front of different live audiences on the same day. Between the shows, they would do makeup retouches and sometimes extend scenes through improvisation.
What were some of the cast's frustrations during rehearsals?
-The cast, including Miguel Falabella, often expressed frustration with the script. They sometimes criticized it heavily, which added tension to the fast-paced rehearsal process.
What was the relationship between dramatic acting and comedy for the cast?
-The cast had a varied background, with some actors, like the speaker, coming from dramatic theater. There was a certain tension between the perception of comedy and drama, as comedy was sometimes seen as less prestigious, although it was highly valued by the end of their experience.

Outlines

00:00

🎭 Challenges and Work Process on 'Sai de Baixo'

This paragraph discusses the production process of 'Sai de Baixo,' a popular Brazilian comedy show. The speaker recalls the demanding weekly rehearsal schedule and the chaotic nature of live performances, filled with improvisation and constant changes to the script. The cast, including the speaker, rehearsed throughout the day and often faced unpredictable situations, relying heavily on quick thinking and teamwork. Marisa, a colleague, had a knack for identifying weak points in the script. The paragraph also highlights the contributions of Miguel, who helped shape the characters and provided guidance during the show.

05:04

🎬 Prejudice Against Comedy and Learning the Craft

This paragraph reflects on the speaker's early career experience, where they initially had a prejudice against comedy, viewing it as a lesser art form compared to dramatic acting. However, they eventually came to appreciate the complexity and importance of comedy, particularly through their work with directors like Miguel and other Rio-based professionals. The speaker recalls a specific play, 'Algemas do Ódio,' and how their involvement with comedies like 'Sai de Baixo' challenged their views on the genre. They share anecdotes from working with influential people in their early acting days and how these experiences shaped their comedic skills.

Mindmap

Keywords

💡MB Hum

MB Hum appears to be a reference to a specific program or show, likely a comedy or variety show given the context. It's mentioned as something the speaker was involved with, indicating a significant part of their career or a memorable experience. The term is used to set the context of the discussion, which revolves around the speaker's experiences in the entertainment industry.

💡Sai de Baixo

Sai de Baixo is mentioned as a weekly show that the speaker was part of. It seems to have been a challenging and intense experience, requiring a lot of rehearsal and performance. The term is used to highlight the demanding nature of the work and the dedication required from the performers, which is a central theme in the video's narrative about the struggles and rewards of a career in show business.

💡Ensaio

Ensaio, which translates to 'rehearsal' in English, is a recurring theme in the script. It is depicted as a grueling process that involves long hours and high levels of commitment. The term is used to emphasize the hard work and preparation that goes into a successful performance, which is a key message in the video about the behind-the-scenes efforts of entertainers.

💡Caco

Caco is a term used to describe when an actor deviates from the script during a performance. It is mentioned in the context of the speaker's interactions with another individual named Miguel. The term is used to illustrate the dynamic and sometimes unpredictable nature of live performances, as well as the need for improvisation skills in the entertainment industry.

💡Redatores

Redatores, meaning 'writers' in English, are mentioned in relation to the number of people who have contributed to the scripts over the years. This highlights the collaborative effort that goes into creating content for shows and the importance of a strong writing team in the success of a production.

💡Comédia

Comédia, or 'comedy', is a central theme in the script. The speaker discusses their experiences with comedy, including their initial reluctance and eventual appreciation for the genre. The term is used to explore the challenges and nuances of performing comedy, as well as the speaker's personal growth and development as an artist.

💡Teatro

Teatro, meaning 'theater', is a recurring concept in the script. It is used to discuss the speaker's background and experiences in the world of theater, which contrasts with their later work in television and comedy. The term is used to highlight the different forms of performing arts and the speaker's journey through them.

💡Pesadelo

Pesadelo, or 'nightmare', is used metaphorically to describe the fears and anxieties associated with live performances, such as forgetting lines or making mistakes on stage. The term is used to convey the pressure and vulnerability that performers can experience, adding depth to the video's exploration of the entertainment industry.

💡Cariocas

Cariocas refers to people from Rio de Janeiro, and in the script, it is used to describe the directors and colleagues the speaker worked with. The term is used to acknowledge the influence and impact these individuals had on the speaker's career, emphasizing the importance of mentorship and collaboration in the arts.

💡EAD

EAD, which stands for 'Educação a Distância' in Portuguese, translates to 'Distance Education' in English. It is mentioned as part of the speaker's educational background, indicating their pursuit of learning and professional development. The term is used to show the speaker's commitment to education and how it has shaped their career in the entertainment industry.

💡Ilub

Ilub, likely a reference to 'Escola de Iluminação do Brasil' or 'Brazilian School of Enlightenment', is mentioned as a significant part of the speaker's formation. The term is used to highlight the importance of education and training in the development of an artist's skills and understanding of their craft.

Highlights

The discussion revolves around the MB Hum, a Brazilian TV show, and its production process.

The show's rehearsals were intense, with the cast practicing as if it were a disease, highlighting the dedication to the craft.

The cast primarily came from Rio de Janeiro, indicating a concentration of talent in that region.

The rehearsal process involved a full day of reading, discussing, and sleep, followed by a day of intense practice and recording.

Miguel, a key figure in the show, was known for his strict approach to rehearsals, cutting out unnecessary parts of the script.

The term 'Caco' is introduced, referring to actors who deviate from the script, a practice that was discouraged.

Marisa, another important figure, is credited with providing key insights and corrections to the script.

The show's creators had a vision of a seamless performance, which was a dream and a nightmare for the cast.

The narrative includes a humorous anecdote about an actor who wanted to kill someone, adding a layer of drama to the production.

The transcript mentions the importance of improvisation in the show, with actors having to adapt quickly to changes.

The cast and crew's work ethic is emphasized, with long hours and a commitment to excellence.

The influence of the 'Ventoforte' school on the speaker's formation as an actress is mentioned, indicating a rich educational background.

The speaker discusses overcoming a prejudice against comedy, showing a personal growth and a broadening of artistic horizons.

The transcript includes a reflection on the importance of comedy in the speaker's career and the lessons learned from it.

A specific play, 'Algemas do Ódio', is mentioned as a turning point in the speaker's career, marking a significant moment.

The speaker shares a personal anecdote about a time when they were very young and learning the ropes of acting.

The final highlight is a reflection on the speaker's journey and the valuable lessons learned from working with Miguel and other talented individuals.