One theatre, three acts

Over the 19th century, Brazil passed through a series of transformations, following the global trends of modernization. The growing industrialization process provided, over time, provinces such as São Paulo, Rio de Janeiro and Minas Gerais to accumulate capital, becoming urban centers of development.

In 1846, the Associação Campineira de Theatro São Carlos was created. It was responsible for carrying out the construction of the concert hall in collaboration with engineer Francisco Pereira Pires.  He, by his turn, had already worked on important reforms in the city, including the old Parish Church. Inaugurated in August 1850, the new theater had 62 boxes and 250 seats in the audience.

In 1875, the São Carlos theater was the only building to receive gas lighting, boosting the coming of various attractions to the city: from carnival festivities to important artistic companies, among which the Empresa Ferri stands out, the first opera company to perform in the city and on the premises of São Carlos.

Despite its years of glory, the theater was slowly deteriorating.  After Sarah's performance, for example, people learned that the actress referred to São Carlos as a place that “smelled like a stable”.  This was a harbinger of the need for a more dignified and decorous space for a booming city.

The public and critics began to demonstrate that the old theater no longer met the city's artistic demands. São Carlos was already considered outdated and a contrasting element with urban modernity, generating political discussions about its future.

At the end of the disputes, the cultural project defended mainly by Mayor Raphael de Andrade Duarte prevailed. Therefore, through Law No. 272, published on September 5, 1921, the City Hall was authorized to build a new theater.

18 projects were submitted by the competitors. According to the commission, there was none at the level of first place.   For the second, the company “Chiappori & Lanza Engenheiros-Architectos” was chosen, a renowned firm established in the city of São Paulo. The last performance in the old São Carlos took place on October 23, 1923.

Another interesting proposal was presented by engineers Achilles Nacarato and Augusto Lefèvre. The project has a strong aesthetic connection with the Municipal Theater of São Paulo, a work by the architect from Campinas Francisco de Paula Ramos de Azevedo.

The history of the now Municipal Theater of Campinas was outlined in a period of great transformations in local urban life, a moment in which the city became an example of modernity and cultural richness for the rest of the country.  The presence of this building changed the course of the history and culture of Campinas, bringing nostalgic feelings to those who experienced this period.

The eclectic-style building was majestic. The facade with neoclassical characteristics gave the building sobriety and magnificence, simultaneously. The facade's staircase gave access to three wrought iron doors. In addition, balconies facing the square and fluted pilasters  visually lengthened the entrance.

The lobby housed honorary plaques honoring the theater's artists and benefactors - for example, the pianist Magdalena Tagliaferro and Henrique José Pereira -, as well as a bronze bust on a black granite base of the Campinas conductor and composer Carlos Gomes, which is now in the City Museum of Campinas. Several independent events such as art exhibitions and cocktail parties were held in this theater space.

The artistic life of Campinas distributed to the rest of the country, first hand, the news that came from Europe, and was enriched with the presence of the Municipal Theater.   However, it was a space destined to the high society.  The actions carried out there were intended to delight the local bourgeoisie, in addition to the calendar considering the programming of the old São Carlos theater, already accepted by the public.

In the 1930s, the management of the building became the responsibility of the city hall, together with the income allocated for renting the spaces. In 1935, the press was already criticizing its administration, denouncing structural problems in the building,  such as cracks and infiltrations, which evidenced the abandonment of the theater.

In 1965, based on two technical reports, the mayor Ruy Hellmeister Novaes, supported by the majority of councilors, decided to demolish the building. The local population received this news suddenly and was not satisfied with the explanations  given by the city for the drastic decision.

Aristides Pedro da Silva, better known by the nickname V8, took more than 180 photographs of the demolition. Asked the reason that led him to photograph her, he said “(...) that thing there hurt his heart, you had to photograph it. (...) Whoever knew the Theater would cry”.