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Biography
| 1954 | While he was in high school,
he becomes a member of the Thought and Action Circle of Studies, "an integralist
Bahia entity". He writes Sèfanu, a ballet that was "criticised by the eldest students and intellectual leaders in high school as being exoteric and homossexual". |
| 1955 | Unfolding from an idea given by Fernando da Rocha Perez, the Jogralescas Poetic Theatre is created. Glauber Rocha directs the plays, in which they stage pieces of famous Brazilian poetry.. |
| 1956 | Rocha participates in the production of the film Um Dia na Rampa, a short-length motion picture by Luiz Paulino dos Santos. |
| 1957 | He enrolls the Law course at the University
of Bahia, which he would attend for three years. Invited by Ariovaldo Matos, he writes for the left-wing newspaper O Movimento. He also writes for the cultural magazines Mapa, Ângulo and Sete Dias. With a zero budget, he films his first short-length motion picture, 'Pátio', using the rests of negatives of 'Redenção', by Roberto Pires (the first long-length motion picture made in Bahia). He visits, in Belo Horizonte, the Cinematographic Studies Centre of Minas Gerais, where he meets Maurício Gomes Leite and other people who were responsible for the edition of the magazines 'Cinema' and 'Complement'. "The magazine and the CSC are the trenches of the tupiniquim cinema, and ,besides, you have the 'Complement Magazine'. We are going to start the battle from this point here, we are going to destroy what remained of Vera Cruz (...)." Glauber purposes to those intellectuals the inicial ideas for a new cinema, "(...) but I am considered a visionary and, expelled from Belo Horizonte, I go to Rio taking the project to Nelson Pereira dos Santos (...)". |
| 1958 | He starts his journalistic career as a reporter in the crime section of the Jornal da Bahia. There, he works with Inácio de Alencar, Ariovaldo Matos, Paulo Gil Soares, Fernando da Rocha Perez e Calasans Neto. He soon starts to write articles about cinema and takes the direction of the Literary Supplement. |
| 1959 | He edits and concludes Pátio. On 30 June, he marries his university peer student Helena Ignez, who was the actress in Pátio. "Middle class intellectual, Law and Theatre student, married to Glauber Rocha, social editor and TV animator, Miss Bahia candidate, beautiful, elegant, blonde, smoker, can't drive, ulcer, slightly nervous, radical when facing mediocrity, misses the Yatch Club of Bahia and the local bourgeoisie which she left to marry me: arts, literature, journalism, cinema, television, politics". Just after the wedding, he starts shooting his second but unfinished short-length motion picture, The Cross in the Square, based on a short story he had written. "I bought an Aryflex 35mm camera for 60 bucks from Gerson Tavares, with a tripod but no zoom, and I came back from my honeymoon to shoot Cruz na Praça in the Terreiro de Jesus. I didn't finish the film because when I saw the edited material, I understood that those ideas didn't work anymore, that my conception of aesthetics had changed." |
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