I have few photos of the time I worked in television. My mother, Marilva, had a series di album filled with pictures and newspaper clippings, documenting my "career" and me and my brothers. I never gave much value to those images and do not know where I went. I always spoke little about this phase of my life. This is not exactly a removal, after all were ten years of my history, from 4 to 14 years, all my childhood and my adolescence, which have profoundly marked my route human. Even the memories of that time are scarce and little immediate access. I realized this only a few days ago, when I placed the online my personal website. Lacked a voice in the main menu that makes reference to the time worked as an actor-Mirim . It is curious that only now, at a distance of half a century, I feel prepared to revisit this adventure, misadventure that can not deny, conditioned in a certain way, the rest of my way. were the tricks of fate that led me to this shortcut from memory.
live ten years in a foreign country. Working with old and crazy. I use the photograph as the main means of communication . Together we seek to build a narrative of life can these people so similar to me. Paradoxically, had never stopped to organize my own memories, conscious and hidden, above all television this chapter of my torturous existence.
Right now I'm picking up the few images that ended up with me, two magazines, two newspaper articles and a picture of the scene. It was my father, Sonny, who came home one day to give me these documents yellowish when we lived in Natal, Rio Grande do North. I found more pictures on the Net and even two videos in which I appear : the first chapter of the novel My Little Piece of Ground and a picture of Sesame Street.
My older sister and my brothers Guto Nene and Adolpho will actually help to rebuild this puzzle of the past providing photos and stories that are part of our family mythology.
Over many years, this experience of personal character is also revealed as part of the fabric of social history in Brazilian television. I attended the first mass production of soap operas and the first novel of education, the premiere of Regina Duarte, Renée de Vielmond, Sonia Braga and many other actresses who became famous. Opposite the main actors and actresses of the 60s, I knew the inside story of the young Brazilian television and lived it all with eyes and heart of a child. I have so much to tell about that period.
I have already on the tip of the tragic case of feather when I learned to pronounce the word "microphone" in the times we had the Gymkhana Kibon, how I could enter the program Moacyr Franco Show, when I caught unwittingly playing a director of Dad and mother with a young actress in the studios of Vera Cruz, my friendship with a German Shepherd, Radar, who stole the scene Procopio Ferreira, the brief experience of only time paper boy made rich, when Marcia Windsor fought with Walter Avancini for my sake, my boy's secret love for the daughter of Percy Ayres and then the daughter of Benedito Ruy Barbosa, the teenage rookie and Sonia Braga. But I want to do it all with calm, the calm that did not exist in core-runs, "quick and dirty", which ran over my childhood busy, adventurous but painful. I also reflect on the phenomenon of early television in Brazil and on the dynamics of my relationship with my mother, the architect of all these stories.
I hope you find a journalist, researcher, historian, or even a former professional colleague interested in the evolution of TV in Brazil, to help me recover images of the major programs and novels that did that and were as follows: The Great Gymkhana
Kibon
Moacyr Franco Show
Goddess Overcome
The Big Trip
Puppets
The Third Sin
The Last Witness
João Juca Jr.
My little piece of Ground Sesame Street
I feel a great excitement for this project narrative because, as it was in my childhood, "My life would make a novel."
