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Um Teatro da Pólis - adaptações cénicas de romances de José Saramago
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Nesta investigação, debruçámo-nos sobre o trabalho do Grupo de Ação Teatral A Barraca, onde identificámos duas assinaturas distintas no que respeita à direção artística: Maria do Céu Guerra e Hélder Mateus da Costa. Para melhor consolidar uma perspetiva que testemunhe a pluralidade vigente na estética que caracteriza esta companhia de teatro, recorremos a dois espetáculos que partem dos romances do – até à data – único Prémio Nobel da Literatura de expressão portuguesa, José Saramago: Claraboia e 1936, O Ano da Morte de Ricardo Reis. Embora sejam produções que resultam de adaptações teatrais do universo de um mesmo autor literário, distinguem-se nas suas versões cénicas, dadas as assinaturas de cada um dos encenadores mencionados. Abordámos, assim, em cada uma delas, as respetivas coordenadas de criação cénica: a dramaturgia e a encenação; os universos de criação plástica para a cena; o trabalho de interpretação do ator para a construção de personagem n’A Barraca.
Para compreender a conceção artística dos dois diretores e encenadores residentes, procurámos definir brevemente o contexto do seu trajeto artístico no teatro contemporâneo português, tentando identificar precursores e historial artístico, incluindo as ascendências dos mestres com que cada um trabalhou no início das suas carreiras e que se identificam ainda hoje na estética das suas encenações, bem como os mestres que marcaram mais amplamente a História do Teatro do século XX, para além da importância explícita do legado motivador da obra e da personalidade de Federico Garcia Lorca, patente na origem da designação do grupo. Enquanto companhia teatral, A Barraca foi fundada em 1976 por Maria do Céu Guerra e Mário Alberto, grupo ao qual Hélder Mateus da Costa se juntaria em 1978.
A Barraca afirma-se como a grande obra artística na vida da atriz-encenadora e do encenador-dramaturgo, na qual ambos desenvolvem há mais de quatro décadas um coletivo de teatro, a um tempo culto e popular, que deseja conquistar públicos para o teatro, que aposta na itinerância e na intervenção e formação cívicas, proporcionando novos olhares, a partir da cena teatral, sobre os tempos que vivemos, muitas vezes a partir de narrativas que implicam a História e a Cultura portuguesas.
In this dissertation, the work of the Grupo de Ação Teatral A Barraca has been the subject of research, where we have identified two distinct trademarks in respect of the artistic direction: Maria do Céu Guerra and Hélder Mateus da Costa. In order to better consolidate a perspective witnessing the current aesthetic pluralism characteristic of this theater group, focus is given to two shows based on the romances of the - up to date - only Nobel Prize in Literature of portuguese expression, José Saramago: Skylight and 1936, the Year of the Death of Ricardo Reis. Although these are productions resulting from the adaptation of an universe belonging to the very same author, they are quite distinct in their scenical versions, given the different trademarks of the aforementioned directors. The scenical creation coordinates have therefore been tackled for each of the plays: the dramaturgy and staging; the universes of visual creation for the scenery; the actor's interpretation work for character's construction in A Barraca. In order to understand the artistic conception of both resident directors, the context of their artistic pathways in the portuguese contemporary theatre has been framed briefly, attempting to identify the precursors and artistic history, including ascendencies of the masters with whom each has worked in the inception of their careers and whose style is still identifiable in the aesthetic of their productions, as well as the masters which have in a broader sense defined the History of the Theatre of the 20th century, and, finally, the explicit significance of the driving legacy of the work and persona of Frederico Garcia Lorca, patent in the origin of the group designation. As a theatre group, A Barraca was founded in 1976 by Maria do Céu Guerra and Mário Alberto, and later joined by Hélder Mateus da Costa in 1978. A Barraca defines the central work of art in the lives of the actress-director and the director-screenwriter, in which both cultivate since over four decades a theatre collective, in a cultivated and popular time, aiming to attract audiences to the theatre, investing in the itinerancy and the civic intervention and education, providing new insights, stemming from the theatrical scenery, of the times we live in, often from narratives that imply the Portuguese History and Culture.
In this dissertation, the work of the Grupo de Ação Teatral A Barraca has been the subject of research, where we have identified two distinct trademarks in respect of the artistic direction: Maria do Céu Guerra and Hélder Mateus da Costa. In order to better consolidate a perspective witnessing the current aesthetic pluralism characteristic of this theater group, focus is given to two shows based on the romances of the - up to date - only Nobel Prize in Literature of portuguese expression, José Saramago: Skylight and 1936, the Year of the Death of Ricardo Reis. Although these are productions resulting from the adaptation of an universe belonging to the very same author, they are quite distinct in their scenical versions, given the different trademarks of the aforementioned directors. The scenical creation coordinates have therefore been tackled for each of the plays: the dramaturgy and staging; the universes of visual creation for the scenery; the actor's interpretation work for character's construction in A Barraca. In order to understand the artistic conception of both resident directors, the context of their artistic pathways in the portuguese contemporary theatre has been framed briefly, attempting to identify the precursors and artistic history, including ascendencies of the masters with whom each has worked in the inception of their careers and whose style is still identifiable in the aesthetic of their productions, as well as the masters which have in a broader sense defined the History of the Theatre of the 20th century, and, finally, the explicit significance of the driving legacy of the work and persona of Frederico Garcia Lorca, patent in the origin of the group designation. As a theatre group, A Barraca was founded in 1976 by Maria do Céu Guerra and Mário Alberto, and later joined by Hélder Mateus da Costa in 1978. A Barraca defines the central work of art in the lives of the actress-director and the director-screenwriter, in which both cultivate since over four decades a theatre collective, in a cultivated and popular time, aiming to attract audiences to the theatre, investing in the itinerancy and the civic intervention and education, providing new insights, stemming from the theatrical scenery, of the times we live in, often from narratives that imply the Portuguese History and Culture.
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Keywords
Teatro a barraca Claraboia 1936 O ano da morte de Ricardo Reis José Saramago Teatro contemporâneo português