Luiza Maria Silva, is a writer, poet, theatrical author, screenwriter and journalist. At 9 years old, he was already writing verses. She began her career as a poet, writing, with 19 years.

But soon the dream of editing a book emerged independently, with 70 poems of my authorship called: The mirror D’Alma. It will be finished soon and edited later during the year 2019 (Facebook: Espejo D’Alma Poetry, phrases and cards).

Participate in anthologies by the publisher Codpoe (books: Brasil Trovador 86, with 3 trovas, Saved from the Fire in 1986 and 1987, with 2 poems, Secrets and Confession, with 1 story, Bambolê, The book The Tale and the Owner of the Tale in 1988 and his biography, the book Biography of Authors of the publisher Art and Office, in 1988).

Participate in the José Louzeiro contest in 1987, with the award-winning story: Miracle of Love. Obtaining the third place in the Writers’ Union.

Also participate in the music festival of the León XII Foundation, obtaining the third place, with the samba / song: Secretos (with collaboration in the music of Sebastião Araújo).

I received a diploma in 1987, as a poet, from the Raul de Leoni Academy in Pretropolis.

I worked in newspapers and alternative magazines as a reporter, having a column where I interviewed renowned artists (artists: José Louzeiro, Jorge Amado, Barbosa Lima Sobrinho, Astragelio de Athayde, Artur da Távola, Raquel de Queiroz, Ruthe Bueno, Eva Bán, Paulo Rangel, Marina Collasanti, Afonso Romano of S’Antanna, Ruthe Cavalieri, Leda Maria Hune, Paulo Rangel, Jose Augusto Fernandes, Leonor de Siqueira, Carlos Eduardo Novaes and Laís Costa Velho, singers Jerry Adriani and Martinho da Vila. : Liana Maia and Bety Erthal, the actor dubbing: Orlando Drummond, the actors: Mário Cardoso, Fernando Reski and Claúdio Cavalcanti among others).

I started my career as a theater author when I was 43 years old, because the inspiration to write children’s and adults’ text came up in 1989, when I wrote my first text of the piece: O Coelho Esperanto. Thanks to the initial kick of Luiz Alfredo de Lima.

Also wrote two children’s pieces, which were in the theater, in the same years: El Conejo Esperanto and Ploc! The Adorable Ghost.

I directed with Leandro Wagner (currently he signs as: Leandro Goulart), Little Red Riding Hood and Journey to the Future, directed by Wladia Martins.

Later more unpublished theater, children and adult texts were emerging. In the style of comedies for children and adults, drama, monologue, romance and besteirol.

I am an affiliate as author, since 1991 of the SBAT (Brazilian Society of Theatrical Authors).

I made the production of three children’s shows. About her creation process, her motivations and perspectives at the moment in which her theatrical projects need production, among the unpublished children, the Friends of the Environment and adult: Blonde or Brunette Daring. And the script of the film: The balance of the dream, in partnership with the screenwriter, Neusa Braga. Nowadays I do not want to get involved with production anymore. I need who can produce.

With the invitation of screenwriter Neusa Braga, we wrote the theater texts and the script of the film. She is already a consecrated screenwriter.

How did the idea of writing your first play come about?

In 1989, giving the kick-off of my career as a theater author, by the teacher and director, Luiz Alfredo de Lima I wrote and produced with cultural supports, the three children’s pieces, El Conejo Esperanto, Ploc! The Adorable Ghost and Little Red Riding Hood. Journey to the Future (Infanto Juvenil, has unpublished songs, in the 3 theatrical pieces).

As the theatricalist María Clara Machado said. “To live at the box office is a suffering”. That’s how I started my career, winning by the box office.

How would you like to see the theatrical texts produced?

It would be with a producer, who has a company name, with CNPJ or who is a natural person, rather than investing in this production. Neusa and I, we would enter as authors of the texts and the script of the film. They with the production, in the formation of the cast and the direction, in the contracting with the signing of contracts.

What gives you more satisfaction in writing theatrical texts?

The messages that are sent in a psychological way, so that the children learn, that the good, always overcomes the evil.

The songs of the children’s piece move with the children.

Is it possible to live from children’s theater in Brazil?

Very complicated. It can be with a good producer, who has the resources to invest or with sponsorships. Send the project to the Rouneat Law and who made the acquisition. All the equipment, which are part of the show, has to be paid.

Do you want the producers to send proposals for your e-mail, and produce the theater pieces and the script of the film, in partnership with Neusa Braga?

Yes. Let it be a producer of Rio de Janeiro. Send to my email: or from Neusa:

“Democracy without culture is like the coconut without water” Luiza Maria Silva