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Mamulengo Puppet Theatre in the Socio-Cultural Context of Twentieth-Century Brazil

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Mamulengo Puppet Theatre in the Socio-Cultural Context of Twentieth-Century Brazil MAMULENGO PUPPET THEATRE IN THE SOCIO-CULTURAL CONTEXT OF TWENTIETH-CENTURY BRAZIL IZABELA COSTA BROCHADO SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (PhD) TRINITY COLLEGE DUBLIN 2005 SAMUEL BECKETT CENTRE SCHOOL OF DRAMA SUPERVISOR: PROF. DR. JOHN McCORMICK ACKNOWLEDGEMENTS I would like to acknowledge the generous help of my Supervisor, Professor John McCormick, without whose unfailing support my initial proposal would have gone completely astray, and who, with kindness and integrity, practically shaped my entire comprehension of what and how a thesis should be. Also, I would like to acknowledge the wonderful support of the puppeteers, Zé de Vina, Zé Lopes, João Galego, Marlene Silva, Chico Daniel and Francisquinho, all of whom, with great generosity, opened up the “curtains” of their puppet theatre, the box of their puppets, the doors of their homes and their memories. Without them, this thesis would not have been possible. I also wish to thank José Salo, Sauba, Neide A. Lopes, Zefa, Bilinga, Seu Luiz, Francisquinho, Bibiu, Miro, Beto dos Bonecos, Raul do Mamulengo, Josivan de Chico de Daniel and Dadi, for their art and their generosity in answering my many questions. My sincere thanks go to Adriana S. Alcure for her kindness in sharing with me her knowledge about the Mamulengo, and about the puppeteers of Zona da Mata, Pernambuco. I also want to thank Gabriela Borges for her comments on the first draft of the topic of the Brazilian historical context, and to Marco Camarotti (in memoriam), Marcondes Lima, and Marcia Senna for the discussions on popular Northeast culture. Thanks must go also to Clodagh McCormick for her always prompt support when I needed it and for her kind help in drawing the diagrams; and to Elizabeth den Otter for the discussion on African puppetry and for allowing me to publish her photos. I would also like to thank Bebeti Mader and Nelson Maravalhas, who with great generosity, helped me in translating the Mamulengo texts. I would like to express my gratitude to Vincent Bastick for his patience in correcting the first draft of this thesis, and for his encouragement on my (English) writing; to Anna Kamaralli for proofreading the manuscript. My thanks go to the staff and professors of the Samuel Beckett Centre School of Drama at Trinity College, Dublin. I owe a debt of gratitude to the staff of Museu do Mamulengo, Carla and Rodrigo, and to the Museum’s Director, Tereza C. Rego; to the staff of the Museu do Homem do Nordeste, Salete Costa and Marilene Leal, and to the Museum’s Director, Vania Brainer; to the staff of Arquivo Público de Olinda, Jovenildo de Souza and Maria F. Peixoto; to the Guardian of Convento dos Franciscanos - Olinda, Friar Roberto S. de Oliveira; to the Coordinator of the Arquivo Público Estadual de Pernambuco, Ildo L. da Rosa; to Pedro Arão (Museu da Imagem e do Som – Recife); to Ivo Rodrigues (Biblioteca da FUNDAJE); to Eugenio M. Siqueira (Acervo do Centro de Documentação da FUNDARPE); to Rubia Losso and Ines Freyre (Centro de Estudos Folclóricos Mário Souto Maior); to Jorge R. da Silva, Alcides B.Sales and José A. da Silveira (Fundação José Augusto - Natal), to Dácio Galvão (Fundação Hélio Galvão- Natal), and to José Bionni (Secretaria de Cultura e Esportes – Carpina). I wish to thank Margareta Nicolesco and Miguel Arreche (UNIMA), Gerson and Eduardo Gonçalves (Maracatu Estrela do Paraiso), Magda Modesto, Leda Alves, Madre Escobar, Deifilo Gurguel, and Marcenio da Silva, for their kindness in answering my queries. I also would like to thank Bruno Leone, who helped me to appreciate and love Pulcinella; to Remo Melloni (Civica Scuola d’Arte Drammatica ‘Paolo Grassi’) and Eugenio Monti Colla (Carlo Colla e Figli) for allowing me to visit their puppet collection and answering my queries; to Alfonso Cipolla for guiding me in my visit to the exhibition “I Filli della Memoria”. Also, I wish to thanks José Russo, Ana Meire, Victor Zambujo, Isabel Pilu and Rui (CENDREV) for giving me the opportunity to attend the shows, and to appreciate the puppets of Bonecos de Santo Aleixo. Also, I wish to thank Christine Zurbac, Luis Varela and Alexandre Passos, for their support and incentive; and to Chico Simões, who introduced me the Mamulengo and with whom I have been discussing many of the ideas that shape this thesis. All my gratitude and love to: My children Flora, Jonas, and Raul for illuminating my existence My mother, Lilia, and my father Hugo (in memoriam), for my existence Raul Moreira, for his constant love and support My brothers Hugo and Cirano, and my sisters Cláudia, Ana Maria, Maria Luiza and Sueli for their constant presence, no matter the physical distance My friends Rejane Guedes, Gabriela Borges, Giulia Grillo, Eileen Denn Jackson, Velma O’ Donoghue Greene, Catherine Curtin, Maria Seco, and Wayne Kelly for their support during this time I spent abroad. This thesis was only made possible by a grant from CAPES – Fundação Aperfeiçoamento de Pessoal de Nível Superior, Ministério da Educação, and by the Leave of Absence permitted by the Universidade de Brasília, Brazil. Finally I want to dedicate this study to Zé de Vina and Chico de Daniel, the two oldest living north-eastern puppeteers, who with great mastery and love, continue to present stories of people and puppets. To all of these people, I offer my profound thanks. SUMMARY Mamulengo is a popular form of puppet theatre in Pernambuco, a state located in the Northeast region of Brazil. It seems to have originated about two centuries ago, and even today, it remains a significant form of entertainment for the people of the Northeast region. In this thesis, Mamulengo is approached as a popular puppet theatre tradition formed by a complex system of codes - the ‘Mamulengo language’ - amidst the socio-cultural context of Pernambuco from the late nineteenth century until the beginning of the twenty-first century. Mamulengo both informs and is shaped by the context of its production, expressed through both the texts (plots and linguistic style) and characters (general and specific typologies). This thesis demonstrates that the plots and characters reflect a society resulting from an intense process of miscegenation (of races and cultures), in which hierarchical divisions have been based on race, gender and class distinctions, and consequently, convey the prejudices, tensions and contradictions arising from these distinctions. Mamulengo to some degree encapsulates the diversity of the popular Northeastern traditions, which are the result of centuries of social and cultural exchange between white, Indian and black populations. The puppet theatre, as part of this entire cultural context, is in permanent interchange with these traditional manifestations and thus, their strong influence on the constitution of Mamulengo can be observed. In examining the diverse sources that form the basis of this puppet theatre this thesis points to another possible approach to the history of Mamulengo. Firstly, it questions the hypothesis of the medieval crib as its primarily source by considering two aspects: the lack of precise evidence, and the similarities between Mamulengo and traditional European glove-puppetry. There is a striking correspondence between many Mamulengo scenes and those of traditional European puppetry; we have strong evidence of close contact, which probably occurred during the early years of Colonial Brazil. Secondly, this thesis demonstrates the close links between Mamulengo and some African puppetry traditions. Their connection is especially observed with regard to sexual content, which is expressed in the puppets’ visual representations (exposure of genitals), movements (parodies of sexual intercourse) and in textual references; the presence of scenes depicting working activities and everyday life, mostly expressed by mechanical puppets; the significant number of rod puppets made entirely of wood, which, as far as research has shown, do not appear in puppet traditions other than Mamulengo and those in Africa; and finally, the function of the music. Through detailed examination of the figures present in the collections of Museu do Mamulengo (The Mamulengo Museum) and Museu do Homem do Nordeste (The Museum of the Man of the Northeast) and research done with three traditional Mamulengo puppeteers of Zona da Mata, Pernambuco (Zé de Vina, Zé Lopes and Joao Galego), this thesis demonstrates that Mamulengo puppet theatre is formed by a set of elements and governing rules, a complex system of signs that communicate and make audience responses possible. Through this analysis, this study describes a “grammar” for the production of the shows and therefore, reveals the knowledge that the master puppeteers (and other artists) bring to their practice (the “know-how” of their profession). This thesis also examines the outstanding role of improvisation in the construction of Mamulengo texts, which are expressed in the puppet’s (or puppeteer’s) and the intermediary’s extensive use of word-play, and shows the connections with the carnivalesque genres. Finally, this thesis recognizes the fundamental role of literate audiences in the construction of the theatrical event. In such a context, individual audience members are acquainted with the diverse elements (auditory and visual) that shape this puppet theatre, and have already been initiated into the conventions of participation in the shows. Therefore, individuals feel free to participate actively in the ongoing performances and consequently, the Mamulengo show is the result of a co-creation
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