Marisa Orth is one of the busiest actresses of the “new wave” cinema. Born in São Paulo, graduated in Psychology, premiered on the big screen with the short film ‘A mulher fatal encontra o homem ideal’ (1987), by Carla Camurati. Greater visibility would come with ‘Não quero falar sobre isso agora’ (1991), by Mauro Farias, followed by‘Capitalismo selvagem’ (1993/André Klotzel), ‘Boleiros – Era uma vez o futebol’ (1998/Ugo Giorgetti), ‘Por trás do pano’ (1999/Luiz Villaça), ‘Durval discos’ (2002/Anna Muylaert), ‘Os normais’ (2003/José Alvarenga Junior), ‘Como fazer um filme de amor’ (2004/José Roberto Torero), and ‘Gatão de meia idade’ (2006/Antonio Carlos da Fontoura), among others. With Lúcia Murat directing, she acted in‘Doces poderes’, (1996) as the journalist Bia questioning professional ethics. Marisa was the vocalist with the bands ‘Luni’ and ‘Vexame’, and studied ballet for more than ten years. Her greatest success in theater was ‘A megera domada’ (Taming of the Shrew) (2001), which she also produced. On TV, she made a mark as Nicinha, in the soap ‘Rainha da sucata’, and as Magda Antibes (1997), in ‘Sai de baixo’. Better known for her work in comedy, Marisa Orth is Fernanda, a serious and dramatic character in Lúcia Murat’s new film, who teaches a dance group in the Maré favela.

INTERVIEW

Este é seu segundo trabalho em longa-metragem com a Lúcia Murat. O que acrescenta?This is your second feature film with Lúcia Murat. O que acrescenta?

lready having worked with Lúcia was good. I believe in her, and like the results she gets. In ‘Doces Poderes’ (1997), the budget was very tight. We earned ten times less than we deserved. And it was beautiful! I’m very proud of having made that film. Now, she gave me a chance to do a dramatic role. Of course the film is based on the story of Romeo and Juliet, so is a tragedy. I have a preference for comedy, but I’m an actress, and after Magda, a part I loved, I became a show girl. It’s good to diversify, to bet on a larger field. Even more with a totally current theme and an innovative concept, like that of a musical.

What is the importance of the role?

Fernanda is not just a political being, she is poetic, idealist, a heroine. Her big dilemma is in balancing her dream against the hard reality she discovers. She wants to unite the divided community. She tries to disengage herself from subservience to the drug barons, the gun-shots, the violence, and get on with her dancing. With no showboating. Brazil is living in a state of urgency. It was good getting to know people, the communities – to see reality close up

What are the greatest challenges in making a musical?

I had to act alongside 32 dancers and this was difficult. I did ballet for ten years. In the film, I sing rap, ‘Ciranda, cirandinha’... and dance, but mostly I pretend. The important thing is that I appear to be a super dance teacher. It’s difficult to say I dance next to these guys. I never climbed a wall. They are almost acrobats, their body work is fantastic. These kids in the film are the result of a miracle. They are super-talented, dedicated and were found by Lucia during the tests. Statistically it would be impossible to find all this talent in the same community. They are really the cream. I took part in their preparation and it was beautiful to see them getting it right on set. Working with non-actors I ended up revisiting dramatic art, as often we had to go back to the origins. It was enlightening making this film. I discovered that hip-hop has various angles. Every day I discovered differences.

Does art transform just like the film says?

Of course. The human being needs to travel, to alter his states of consciousness. As Arnaldo Antunes says: “You are hungry for what?” The drug traffic and the churches occupy this gap left by culture, they try to give a chemical or spiritual transcendence... And in the film culture has a very clear social function.