GT Teatro Brasileiro – Anais da VI Reunião Científica da ABRACE
ABSTRACT
The spectacle “The king’s corsair”, 1985,
text and
direction by Augusto Boal, mark of his comeback to the Brazilian stages
after fourteen years in exile, provoked intense discussion in the
artistic environmental of the time. The critical and controversial
reports about the debate organized by the newspaper “Jornal
do
Brasil” especially to discuss the performance of the play,
clearly shows the different currents of thought that had been forming
in the Brazilian theater’s milieu at the time of recent
democratization. With songs by Chico Buarque and Edu Lobo, 35 actors
and an orchestra that had 15 musicians, the performance was one of the
first ones, in thedecade of the 80th, to be produced in the form of
over-production, even without the technical possibilities available
today. This format seemed to contradict, to some, the image that had to
Boal as a director of an essentially political theater, developed with
the Arena Theatre of São Paulo. After so many years in
exile,
developing Theatre of the Oppressed with international success, the
Boal’s return to the Brazilian theater aroused a wave of
explicit
criticism of the spectacle and the figure of Boal, by some of the
artistic environmental. At the same time, other segments of the
artistic and theater critics actively expressed their support for the
playwright, defending the idea that the attack on the spectacle would
be an act of censorship, as a vestige of the dictatorship that still
had their tracks. The controversy over the spectacle “The
king’s corsair”, therefore, is seen in this
reflection, as
a decisive mark in the Augusto Boal’s career, and as a
historical
event that reveals the differences of the artistic environmental in the
post-military dictatorship.
Keywords: Augusto Boal. Political theater. Exile. Post-dictatorship.
RESUME
L’article vise à présenter,
même que
brièvement, une évaluation de
l’existence,
lerôle et les limites
descollectionsthéâtrales
à São Paulo encherchant à
évaluerlanécessité
d’intervention de
lacommunautéthéâtraledansuneffortpourconserverlamémoire
de cethéâtre. Ilsserontpriseen compte
desquestionstelles
que lesfondementséconomiques de cesfichiers,
lestatutjuridique,
l’étenduedescollections et letravail de
productionsurladocumentation, l’état de
conservation,
lapossibilité de politiques d’accès,
l’extraversion, entre
autresaspectspertinentspourl’établissement de une
évaluationinitiale de
ladocumentationconservéesurlethéâtre de
laville
Mots-clés: São Paulo (ville). Archives.
Mémoire.
ABSTRACT
Over the course of this article, the phenomenology of the imaginary
developed by Gaston Bachelard is employed in order to carry out an
imaginary topoanalysis of the “personal geography”
mapped
out by the Companhia de TeatroFarinhaSeca during their production of
Senhora dos Afogados by Nelson Rodrigues. “Personal
geography” is a term developed by actor Cleilton Silva to
describe the way in which FarinhaSeca – a group based in the
town
of Euclides da Cunha in the Brazilian Sertão –
articulate
an oniric, hybrid universe through their work based on
interconnectivity, and one that diverges from traditional regionalist
models that perpetuate hegemonic concepts of identity and reality in
the arid Northeastern countryside of Bahia. The article demonstrates
that, although the “personal geography” permeating
FarinhaSeca’s performance of Rodrigues’ play still
reveals
the epistemic and disciplinary violence that has shaped the
Sertão, its people and their customs over the centuries, it
also
unveils an impulse-laden store of occult sensations and desires, an
alternative, imaginary landscape traced by the potent theatrical signs
embodied by the young actors on stage.
Keywords: PhenomenologyoftheImaginary; Companhia de Teatro Farinha
Seca; Senhora dos Afogados; PersonalGeography.
————————————————————–
DEBORTOLI, Kamila R.
Considerações
sobre a dramaturgia de Nelson Rodrigues.
Florianópolis:
Universidade do Estado de Santa Catarina; Mestrado; Orientador:
Edélcio Mostaço.
RESUMO
Este artigo investiga a estrutura
dramatúrgica
de Nelson Rodrigues, assim como pontua os
procedimentos
artísticos utilizados pelo autor que representam
inovação para o seu tempo e marcam sua
identidade. As
relações acerca do
espaço/tempo e da
linguagem verbal adotada ganham destaque
e permitem
observar características de teatralidade
e de
encenação, vislumbrando o fato
cênico
em sua totalidade. Ao pontuar essa
estrutura e
considerar o universo retratado, tais como gírias
e temas
polêmicos, a dramaturgia rodriguiana pode ser lida
como uma
forma de conhecimento de uma identidade
e
realidade social.
Palavras-chave: Nelson Rodrigues. Estruturas Dramatúrgicas.
Dialogismo.
ABSTRACT
This article investigates the
dramaturgical structure
of Nelson Rodrigues, as well as points out the
artistic
procedures used by the author that represent an innovation for his time
and mark it’s identity. The relations between space/time and
verbal language highlighted and
adopted allow
us to observe features of theatricality
and of
staging, overlooking the fact in its entirety. Considering this
structure and the universe portrayed, such as slangs and controversial
issues, Rodrigues’ drama can be read as a form of knowledge
of an
identity and social reality.
Keywords: Nelson Rodrigues. Dramaturgical Structures. Dialogism.
FARIA, Karina A. S. A radioatriz Celina Ferreira, herança do
teatro de revista aplicada na rádio. Salvador: Universidade
Federal da Bahia; doutoranda; orientadora Prof.ª Dr.ª
Ângela Reis. Atriz.
RESUMO
Celdiva Angelim Oliveira é o nome de batismo da atriz baiana
Celina Ferreira cuja carreira é o objeto de estudo de
doutorado
da autora deste resumo. Nascida em 1902, Celina sai de sua cidade
natal, Senhor do Bonfim, no interior da Bahia em 1922. Celina casa-se
com o artista Ferreira da Silva, comediante de tipos populares, que
atuava em companhias itinerantes que viajam pelo interior e capitais do
Nordeste, especialmente a “Companhia Regional”,
cujo
repertório era feito principalmente de
espetáculos de
teatro de revista. A primeira “escola” de Celina
Ferreira
foi este teatro de revista que viajava entre as décadas de
20 e
30 do século XX, a partir do qual ela passou a ser
também
citada por suas atuações. Ferreira da Silva
falece em
1935 e Celina dá seguimento a sua carreira, dividida aqui,
para
fins analíticos, a partir dos seguintes arranjos
artístico-produtivos: a) teatro de revista; b) teatro
amador; c)
circo-teatro; d) teatro na rádio. Neste trabalho,
pretende-se
compreender a inserção de Celina no universo da
rádio baiana a partir de suas
participações em
programas das rádios Excelsior e Sociedade. “A
Família Pacatinho” (1952) – uma
radionovela da
Rádio Excelsior no formato de episódios
– é
o mais antigo deles. Nele, Celina faz uma velha surda chamada D.
Finoca. Atua ainda nos programas, “Romances
Musicaes”,
“Quando Vovó tinha 20 anos”,
“Rádio
Caleidoscópio”, “A Cidade se
Diverte”,
“Bahia de Ontem e de Hoje”, “Roteiro da
Alegria” e “Salão Grenat”.
Celina recebe,
entre outros, o prêmio de melhor radioatriz do ano, por dois
anos
consecutivos: em 1959, concedido pela Revista Única e, em
1960,
pelo Sindicato dos Trabalhadores em Empresas de Radiodifusão
do
Município de Salvador. Aqui, estudar-se-á o que a
experiência do teatro e no teatro trouxe para a carreira de
Celina Ferreira no universo radiofônico.
Palavras-chave: Teatro brasileiro. Radioteatro. Teatro nordestino.
RESUMÉ
Baptiséesouslenom de Celdiva Angelim Oliveira,
l’actricebahianaise Celina Ferreira fait l’objet
d’étude de cedoctorat. Néeen 1902, en
1922 Celina
quittesaville d´origine, Senhor do Bonfim,
situéedansl’Etat de Bahia. Mariée
à
l’Artiste Ferreira da Silva,
comédienquiinterprétait de typespopulaires et
travaillaitdansdescompagniesitinérantes,
elleparcoursavecluileNord Est Brésilien, entre
lesannées
20 et 30. Le travail de sonmari, Ferreira da Silva, se fait
remarquerleplusausein de La «Companhia Regional»,
dontlerépertoireétaitessentiellementconstituédesspectacles
de théâtre de revue, quifût, par son
tour, la
première et grande école de Celina Ferreira.
Eneffetc’estavecdesspectacles de théâtre
de revue
que Celina fait ses premières
etsignificativesapparitionsdanslapresse. Ferreira da Silva meurten 1935
et Celina suitsacarrière que, obéissant
à
descritèresdidactique, est
présentéeiciselonlesphasessuivantes: a)
théâtre de revue; b)
théâtreamateur; c)
cirque-théâtre; d)
théâtre-radio.
Cetteétude a trait à ladernièrephase,
cette
à dire que
l’onconsidèrelesémissions que
Celina protagonisaauxradios Excelsior et Sociedade. «A
Família Pacatinho», par exemple, fûtun
radio
feuilletonexhibéen 1952 à la Radio Excelsior.
Dans le
genre épisodique, Il s’agit du plus ancien des
feuilletons, danslequel Celina joua le
rôled’unevieillesourde, nommée Madame
Finoca.
Aprèscetteexpérience, Celina participa aussi de:
«Romances Musicaes», «Quando
Vovó tinha 20
anos», «Rádio
Caleidoscópio», «A
Cidade se Diverte», «Bahia de Ontem e de
Hoje»,
«Roteiro da Alegria» e «Salão
Grenat».
Par sestravaux, Celina a reçuquelquesprix,
dontlesplusimportants: meilleure radio actrice de
l’année,
en 1959, décernée par la Revista
Única; et en
1960, par le Sindicato dos Trabalhadores em Empresas de
Rádiodifusão do Município de Salvador.
Cetteétudecherche à savoirquel est
l’apport de
l’expérienceduthéâtre et
authéâtredanstrajectoire de radio actrice de
Celina
Ferreira.
Mots-Clés: Théâtrebrésilien.
Radio
théâtre. Théâtre du
nordestbrésilien.
RESUME
L’article a l’objectif de
développercertainsconsidérationsinitialessurlacontribution
que larecherchedanslesarchives (fonds d’archives) offre
à
l’historiographieduthéâtrebrésilien.
Pour
cela serontadresséscertainsprincipes de
l’archivologiequipourvoientguiderladiscussionsurl’écart
que ledocument d’archive a
commefonthistoriquepournouschercheurs.
Il
serontaussitraitéequestionssurl’espèces
de
documentstrouvéesdanslesarchives de institutionset centres
de
documentation à Rio de Janeiro
quigardentlesdocumentsconcernantl’histoireduthéâtrebrésilien.
Mots clés: Archivologie. Historiographie.
Théâtrebrésilien.
ABSTRACT
Findings and recent publications have brought to the knowledge of
Brazilian theater’s history a fact that changed many previous
assumptions about Arthur Azevedo’s work and environment: the
premiere failure in 1904 of his text “O Mambembe.”
From
this new historical data, it is necessary to reconsider the trajectory
of this play in its various contexts, from its creation to its
rehabilitation, by the public and the critics, 55 years later, at the
famous Teatro dos Sete staging. This historical reassessment requests
from the research the deconstruction of monolithic and paralyzing
notion of “O Mambembe” as an universal and timeless
classic
of Brazilian theater. Perhaps then it will be possible its use in all
its richness of meanings and social interactions within a broad
discussion about the processes and contradictions in modernization of
Brazilian theater and society at the twentieth century. The focus in
theatrical reception shows to be very useful in the now crucial task of
detaching more clearly this play from the overall work of Arthur
Azevedo, especially his successful musicals. This will highlight a
glimpse over “O Mambembe”, witch shows a theater
that is
trying to educate the senses, in contradiction with the theatrical
world of entertainment at the entrance of the twentieth century in Rio
de Janeiro. It will sow also how Azevedo tries to somehow escape the
massification present in that universe by appealing to the past and to
the promise of a more “artistic” future for
theater. This
approach only makes full sense when we close the history cycle which
established the importance of this play at the national scene, that is,
extending the discussion to the 1959 staging, at the fiftieth
anniversary of the Teatro Municipal of Rio de Janeiro. Mixing
old-school and modern artists, reappropriating or (re) inventing a form
that could be identified as an early origin for our theater, the
spectacle by Teatro dos Sete made a great success, became a mark in
Brazilian theater and rehabilitated Arthur Azevedo as a playwright for
criticism. From the failure in 1904 to the burst in 1959, the problems
and contradictions in the appropriation of tradition by the modernity
appear on this case “O Mambembe.”
Keywords: Burleta. Artur Azevedo. Teatro dos Sete. Modernity.
Tradition. Educational Theatre.
————————————————————–
MOSTAÇO, E. Computado, eu? Florianópolis: UDESC;
Efetivo;
Bolsista em Produtividade e Pesquisa CNPq nível 2, Professor
Orientador.
RESUMO
Este artigo integra uma pesquisa em curso sobre a
encenação nos anos de 1960 e 1970. Enfoca o
espetáculo Gente Computada Igual a Você, estreado
pelos
Dzi Croquettes em 1971, realização especialmente
inovadora sob diversos aspectos: formato, temática, ousadia
estética e conceitual. A abordagem privilegia aspectos de
teatralidade e suas características
performáticas.
São aspectos que influem positivamente sobre
práticas
teatrais do período e influenciam o surgimento de novos
conjuntos artísticos em suas pegadas.
Palavras-chave: Dzi Croquettes. Teatralidade. Performance.
RESUMEN
Este articulo integra una pesquisa sobre la puesta en escena en los
años 1960 y 1970. Toma para analisis el
espetáculo Gente
Computada Igual a Você, estrenado por el grupo Dzi Croquettes
em
1971, realización especialmente inovadora sob aspectos
distintos: forma, temática, desafios estéticos y
conceptuales. El análisis privilegia aspectos de la
teatralidad
y sus características performáticas. Son
características que influyen de modo positivo sobre
prácticas teatrales de aquel tiempo y ayudan el surgimiento
de
nuevos conjuntos artísticos a partir de el.
Palabras clave: Dzi Croquettes. Teatralidad. Performance.
ABSTRACT
This paper investigates the critical analysis concerning political
theater based on concepts of authors such as Bertold Brecht,
FredericoIrazábel, Jorge Dubatti, Sérgio de
Carvalho,
Theodor Adorno, and its practical realization in the current Brazilian
theatrical scene. These authors bring different ideas about what could
be the relation of theater both with macro and micropolitics and about
which form the political theater should assume. Those theories are
thereby used as a basis to think about the the current Brazilian
theater production once they try to establish a relation between art
and society. As examples we have the theoretical and dramaturgical
productions of Companhia do Latão, and other works from its
director Sérgio de Carvalho, and also the work of Teatro da
Vertigem. Companhia do Latão, in existence since 1990s in
São Paulo, establishes a relation with the theoretical and
dramaturgical production of Bertold Brecht, and aims, through the
theater, to propose a critical reflection in society today. Teatro da
Vertigem, also in existence since 1990s in São Paulo, aims
through their works a dramaturgical and scenic relation with non
conventional spaces, creating spectacles of urban intervention. Both
groups work with collaborative process in a more democratic
relathionship between the artists. The political theater, in this
sense, can be understood both as a kind of art which proposes to be a
tool to social transformation, as Companhia do Latão, and as
a
possibility of making a breakthrough in automated perception of the
viewer and create new areas of subjectivity, as it is the case of
Teatro da Vertigem.
Key-words: Political theater. Brazilian theater. Companhia do
Latão. Teatro da Vertigem.