No two people have the same starting point to reach an equivalent goal – and what for some is imbalance, for others can be a gap or abyss. Based on this premise, and on the profound need to move from reflection to action, it becomes important to think about the representativeness and accessibility of audiences in the performing arts. It is worth questioning whether the place of visibility in artistic creation can be the key to bringing population groups that are usually far from it to the audience, finding in the process of “identification” the engine for creating new audiences and the formation of a taste for performing arts . However, even in the act of giving visibility there is the face of the privilege of those who reached the goal first, who have their voice and can give it away. How then can one think about the true inclusion of those who have been, structurally and for too long, excluded both from the stages and from the audiences, with conditioned access to the taste of an unjust society and a still imperfect democracy?
The representativeness and accessibility of the “margins” to the Culture that is at the “center” is the starting point for a conversation with creators and programmers about the people who could be in the various places of a Theater room, but whose path is still to be found fraught with obstacles – physical and social. The “margins” and the “center” do not just oppose the periphery and the heart of the city, the interior and the coast… There is talk of majorities and minorities (ethnic, sexual, gender…), of non-normative bodies, of people with disabilities, of all kinds of exclusions that distance them from a place that should be entirely free: the concert hall. In this path that São Luiz intends to follow, it asks creators and programmers: What is the place of the public in your work? How do you think about identities in a pulverized society like ours?
