Christiane Torloni, 67, was Tereza Cristina in “Fina Estampa” (2011), Helena in “Mulheres Apaixonadas” (2003), Diná in “A Viagem” (1994), Jô in “A Gata Comeu” (1985), among many others others. About to complete 50 years of career, in 2025, she spent a good part of her career at Globo, where she announced her departure in April.
To Folha de S.Paulo, the actress spoke about her relationship with the broadcaster in a positive way, implying that there were no hurt feelings. “I won the lottery because I had the opportunity to work in an institution that, for Brazil, I think is a source of pride,” she said.
According to her, the fact that she no longer has a fixed contract is, in a way, more suitable for those who make a living from art. “If you’re looking for security, don’t be an artist,” she explained. “You may have a knack for it, but if you want security, you can’t be an artist. You shouldn’t be. You will suffer miserably. Because part of creation comes from this instability.”
“There is something that the artist deals with that is called impermanence”, he continues. “If you get too attached, you’re screwed.”
Torloni remembers that her first appearance on the small screen was on the now defunct TV Tupi and that she passed through other channels along the way (on TV Manchete, she was the protagonist of “Kananga do Japan”, for example). And, even when she was linked to Globo, she tried to take on side projects.
“There are artists who had a timeline. That’s not my timeline. I did a lot of work for sure. And, in these intervals, between one work and another, I started doing theater, I started doing cinema. There are several columns that support my career. Not just one. Because it’s very dangerous to put all your eggs in one basket”, she teaches.
Now, she has plans to return to the stage in a show scheduled to premiere in the capital of São Paulo in two months, with Antonio Fagundes, 75, as her scene partner. Those who miss it can also check out the rerun of “A Viagem”, which is currently airing on the paid channel Viva. The soap opera, in fact, is one of the many romantic pairings she made with her colleague.
Regarding the spiritualist theme of the soap opera and the new religious approaches, including evangelical ones, in current serials, the actress believes that there is room for everything, and that the role of open TV is to be plural. “I think open TV is essential because it speaks directly; We can’t forget the cultural melting pot that Brazil has, you know?
“There’s room for everyone, there’s room for all dramas, there’s room for all cinemas and all arts”, he argues. “There has to be a place for everything in poetry. Where it doesn’t exist is in politics. Because, as far as I know, the Brazilian State is secular. And that’s when we’ll have superpositions that are dangerous.”
Defender of environmental and democratic agendas, the actress was one of the speakers at the seminar on the 40th anniversary of Diretas Já, held by OAB and Folha de S.Paulo on the 29th. An important name for the movement, Torloni spoke about the importance of the discussion of the act.
“It is very important to have events that take care of our memory because there is no completed democracy”, he assessed. “The political, civilizing process is in action, it is in motion. Everything is happening. And it doesn’t just depend on an internal movement. We cannot forget that there was a dictatorship. We must not forget. How can we not forget that there was a dictatorship? Remembering Diretas Já.”
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Christiane Torloni, after leaving Globo, says: ‘If you’re looking for security, don’t be an artist’
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