The film we inside brings autobiografia of one of the personalities of great importance of the world-wide scene, ' ' Chico Xavier' ' a man who through its faith in God on the basis of the espiritismo, revolutionized the vision regarding the espiritismo in way our society. The synthesis narrative searchs to transmit the clarividncia lived for ' ' Chico' ' of infancy its adult life. A work that awakes the curiosity of innumerable spectators that has for objective to understand who better is ' ' Chico Xavier' ' one ' ' verdade' ' or ' ' mito' ' eternalized in it speaks, in books and in the films that they invade the minds of the people for the world it measures. In the film simplicity is visible, in the form of presentation of the facts livings creature for ' ' Chico' ' ; something that did not run away from the principles nailed for it throughout its terrena life. In more, I can affirm that the author of the film searched prism the image of a man who beyond the faith and of its clarividncia, perpetuated the solidarity feelings, of love, resignation, charity something not only transmitted for espritas, but for all the people who are involved for the love and faith that ' ' Chico Xavier' ' it lived and that still the perspective of its religiosidade lives as.
With this agreement the group of Guetu theater of the UnirG looked for to show some controversies on questions on the negligenciamento of the cultural identification of the Tocantins, of breaking divulges of intelligent form, musical authors and its workmanships during all the spectacle. In a precarious physical structure, the part YOU in Scene was estreada with priority, showing that to develop a teatral part, what same valley is the creativity of its script and the ability of the artists. The controversy of the lack of a space for production and presentation of teatrais parts in Gurupi was emphasis in it finishes of the part with a emotiva declaration it artist and director Cristiano Cabral. With regard to lack of a space for scenic arts in our city, is about a cyclical paradox of cause and effect, as already the classic question ‘ ‘ who was born first, the egg or the hen? ‘ ‘. To become theater if it does not need, necessarily of an exclusive space for this, perhaps and, not yet let us have this space for the inconstncia of parts presented in our city. An example of this mambembes or presentations in public squares of excellent projects that circulate for the country and the world, mainly to that is the famous spectacles cannot complain of its existing structure.
When making an analogy between the French School and its influence in the communications, can be affirmed that the theater if fits perfectly while a media of mass, one them lines of thought of some theoreticians of that school. Another particularitity that also would be important to point out is that the communicator, the media, according to French school, does not have to neglect aspects of cultural order, and in this point the part knew, in cativante way, to not only involve the cultural aspects of our local society in its plot as well as in the used language.