Copyright by Gustavo Melo Cerqueira 2013

The Report Committee for Gustavo Melo Cerqueira Certifies that this is the approved version of the following report:

“To Be [Seen] or Not To Be [Seen]? That is the Question” Presence in Black Theatrical Practice of Cia. dos Comuns

APPROVED BY SUPERVISING COMMITTEE:

Supervisor: João H. Costa Vargas

Omi Osun Joni L. Jones

“To Be [Seen] or Not To Be [Seen]? That is the Question” Presence in Black Theatrical Practice of Cia. dos Comuns

Gustavo Melo Cerqueira, B.A.

Report

Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of

Master of Arts

The University of Texas at Austin May 2013 Dedication

To Oxossi. He keeps me alive. To my supportive family and friends. Because they are many, here I mention just a few of them: Alaide Barros Silva (in memorian), Ernayde Silva Melo, Clovis Cerqueira dos Santos, Marcio Melo Cerqueira, and Natalia Alves Cerqueira. Beatriz Moreira Costa (Iya Beata de Iyemonja), Adailton Moreira, and Gelson Oliveira. Jorgita Odete, Mary Bittencourt, and Maria Aparecida. Ernande Melo, Jaciara Ornelia, Alice Oliveira, Vicente Oliveira, and Cintia Nascimento. Silvia Nogueira and Lea Ostrower. Daniele Duarte, Luis Carlos de Alencar Filho, and Guilherme Araújo. Hilton Cobra, Valéria Monã, and the whole cast and staff of Cia. dos Comuns. Chica Carelli, Márcio Meirelles, Zebrinha, and Jarbas Bittencourt. Ângelo Flávio and Fernanda Júlia.

This work is especially dedicated to my wife Agatha Silvia Nogueira e Oliveira, and to my daughter Mowumi Oliveira Melo. I love you.

Acknowledgements

My presence in this program is due to a series of efforts and persons absolutely committed and critically engaged with the improvement of black people’s lives worldwide. Among many, I specially mention Lúcia Xavier, Sônia Santos, and João H. Costa Vargas. These people insist on believing. I also want to acknowledge the work of Cia. dos Comuns and the artists that are involved in black theatrical practice in Brazil. To be present is always a challenge that those artists / activists decided to face. This work acknowledges the effort of all of those who do not fear the paradox. Finally, I need to acknowledge the support from AADS staff and faculty: Joel Suarez, Nia Crosley, Anna-Lisa Plant, Alan Baker, E. Nicole Thompson Beavers, Dr. Edmund Gordon, Dr. Omi Jones, Dr. Stephen Marshall, Dr. Shirley Thompson, and Dr. Kali Gross, among many others, are making of AADS one of the best places to study, learn, and act.

Abstract

“To Be [Seen] or Not To Be [Seen]? That is the Question” Presence in Black Theatrical Practice of Cia. dos Comuns

Gustavo Melo Cerqueira, M. A. The University of Texas at Austin, 2013

Supervisor: João H. Costa Vargas

This essay interrogates the political dimensions of black presence in black theatrical practice. To do so, I focus on the deployment of black presence in the spectacle Silêncio performed by Cia dos Comuns and premiered in 2007, Rio de Janeiro, Brazil. I argue that the option made by director Hilton Cobra in not making use of fictional characters, as well as not deploying realistic representations of every day life, indicates a political gesture that challenges what I consider to be the most fundamental aspect of black theatrical practice: the black presence on stage. By facing the multidimensional, challenging, and contradictory aspects of black presence, this study will approach the negotiation of presence in black theatrical practice. I argue that an approach on the black phenomenal presence on stage complicates assumptions regarding the benefits of the investment in black presence as a political tool to enhance the participation of black people in Brazilian society. This essay aims to engage and expand on the available theoretical apparatus in the scholarship about black theatrical practice in Brazil.

Table of Contents

List of Figures ...... viii

INTODUCTION ...... 1

LITERATURE REVIEW ...... 4

Summary Outline ...... 12

Outline With Citations ...... 16

Full References ...... 20

ESSAY: " TO BE [SEEN] OR NOT TO BE [SEEN]? THAT IS THE QUESTION" - PRESENCE IN THE BLACK THEATRICAL PRACTICE OF CIA DOS COMUNS ...... 37

Appendix A Silêncio. Production and Creation & Staff Sheet ...... 63

Appendix B Silêncio. "Racismo ou a infeliz nervura da realidade negra" ...... 64

Appendix C Silêncio. "Psiu, 2007!" ...... 65

Appendix D Silêncio. "A música/movimento do 'Silêncio'" ...... 66

Appendix E Silêncio. Cover of the Program of Silêncio in English ...... 67

References ...... 68

Vita… ...... 80

vii

List of Figures

Figure 1 Silêncio 1 ...... 42

Figure 2 Silêncio 2 ...... 44

Figure 3 Silêncio 3 ...... 45

Figure 4 Silêncio 4 ...... 48

viii

Introduction Born and raised in Brazil, and having spent the last 14 years working on performing arts – with special attention to theatre, but also with incursions in TV and cinema – I have been struck by challenges surrounding black presence in artistic languages that privilege the visual apprehension of the body. Resulting from and continuing an ongoing debate about the difficulties to implement a more significant participation in the performing arts, both in quantitative and qualitative terms, especially in theatre, I have integrated a black theatrical group named Companhia dos Comuns, or simply Comuns, for seven years. During this period we not only invested in the guarantee of a space where we could develop our artistic research, but also we were aiming to deconstruct stereotypical representations of black people, as well as conflated that practice with discussions on gender and sexuality along with macro-economic policies such as globalization, capitalism etc. The group was very successful in most of its endeavor despite many contradictions and flaws that we faced during our journey. The four plays staged by the group, of which I participated in the first three, had a good impact in specialized critiques. One of the plays, Candaces – A Reconstrução do Fogo had four nominations to the Prêmio Shell de Teatro – the most famous and renowned Brazilian theatre award. The play was also enlisted by the specialized critique of newspaper O Globo as one of the 10 best theatrical plays presented in the city of Rio de Janeiro in 2003. As far as the audience, the plays were successful in attracting a demographic that was not regularly seen in – and still isn’t – the downtown theatres in the Rio de Janeiro: lower-class black spectators. All the processes before staging a play were accompanied by a dialogue of the themes with the audience that we aimed to reach as our main target and that also had intimacy with the themes, stories, and characters that we presented on stage. Another aspect is that the target audience also configured the one in relation to which the theatre made by Cia. dos Comuns also performed a pedagogical role, of putting the everyday life struggles in the context of macro- politics regarding racism and sexism. In doing so, we expected that the audience had the chance to see themselves on stage in a different fashion, considering the African Diasporic culture as an important part of Brazilian nation and also the need of political action against racism and extermination of black youth as an imperative to be embraced by black population. On the other hand, other aspects can also be seen as controversial in the process of Comuns, such as the bigger investment on bringing the black population to the downtown theatres, rather than producing plays that would be able to travel to more precarious spaces, 1 which could have created a more intimate relationship with the black popular audience; the relatively short time that the plays were running– mostly due to the relatively high cost of the productions; and the presence of whites in key positions within the production of the plays, like accounting, light design, production management, custom design, and artistic direction of the first three plays. This is not to say that such aspects were not addressed in the internal discussions of the group. In addition, some of the issues regarding a more deep and permanent contact with the popular black audience were addressed in the realization of workshops and seminars that gathered together black artists, activists, intellectuals, and the general population to the debates of issues related to the political and aesthetic concerns that the group considered pertinent to the majority of black population. The aforementioned discussion about Cia. dos Comuns is not to place the group as the center of the concerns that this report aims to address. Rather, I consider that some of the issues that I relate here are revealing of the struggle around presence in black theatre that impact most of the black theatrical groups in Brazil: the choices about the themes approached on the stage; the privilege for certain spaces to perform the plays in detriment of others; the investment on having a particular racial composition in the audience that could have a better sense of what was being presented; the full black cast despite the collaboration and participation of several white professionals in the production of the plays. All of these aspects point to an issue that can reveal more about the political and aesthetics aspects about black theatre in Brazil: the issue of presence regarding the black body. Ultimately, my goal with this research is to enrich the methodologies applied to the performance analysis regarding black theatre. By establishing a theoretical ground regarding black presence on the theatrical stage, I hope to be able to develop a research on black theatre that is neither constrained to the binary sociological vs. aesthetic approaches nor that will risk the thought development around black theatre that takes for granted the participation of black performers and the recourse to black Diasporic culture to its characterization. This report aims to push me to keep asking questions, not taking for granted what has already been said about racial stereotypes, controlling images, community-based activities, black political struggle, black Diasporic culture, and politics of alliance, to name a few. For this reason, this report challenges the readers to bear in mind questions such as: what does it mean to be present? Is every corporeal body present in the same way? Are there bodies that deal with presence while others deal with absence? Is to be black in the everyday life the same as being black on the theatrical stage? What 2 the space has to do with presence? Who determines who is present and who is absent? Who has the power to render presence? Which senses are involved in the apprehension of presence or absence? Is visibility an achievable goal regarding the black body? Does visibility render power? What are the differences – if any – between visibility and representation? Do aesthetic and politics have something in common with each other? Do we have a black politics? Is there a black theatre at all? This report consists in a literature review and an essay. The literature review, beyond the articulation of readings that helped me to articulate tentative investigations for the aforementioned questions, proposes a systematization of readings that I intend to engage with during the PhD program in African and African Diaspora Studies. Following the literature review, the essay “To Be [Seen] or not to be [Seen]? That is the Question: Presence in Black Theatrical Practice of Cia. dos Comuns” is one of my first scholarly steps in the study of the issue of presence regarding the black body in performing arts.

3 Literature Review This literature review is divided in three areas. Each area is eventually subdivided into sections and subsections according to the subjects and categories that name each one of them. The three areas that I propose in this literature review – and their correspondent sections and subsections – are organized as follows.

Area 1 - Several Presences and Absences in Western Philosophy, Theatre and, Performance Studies – Eurological Perspectives

This area encompasses philosophical debates around the issue of presence and its correlation with the fields of theatre and performance studies through a Eurological perspective. The option of focusing on the Eurological perspectives apart from Afrological ones is exactly to investigate the limits and potentialities of the Eurological epistemology on presence. Most of the literature mapped in this area is grounded on Modern notions of an individual transcendent body, upon which theories and practices are constructed. Even the works made by theatrical practitioners that focused on Asian or African cultures, were mainly constructed considering the possibilities of a universal body to achieve or appropriate the basic qualities and features originated in the Other’s culture. Thus, this area mainly focuses on the readings recurrently mentioned in the debates around presence in theatre and performance studies developed by Europeans and American scholars, as well as the Eurological philosophical perspectives around the theme. The goals is to provide an Eurological particular way of understanding and developing the notion of presence that lately will be confronted with Afrological and Asian perspectives that troubles and complicates these concepts, whether they are developed in Modern or Postmodern fashions. This area is divided into three sections organized as follows.

1. Presence is not an obvious matter. This section points out Eurological philosophical studies that are commonly mentioned in debates of presence. Although I already have a superficial notion of part of the debates that are brought up in the readings of this section, it actually points to an important area in the debates around presence that I need to engage with in order to further develop my research. Thus, this area indicates part of the discussion that I will focus in the future in order to provide a consistent systematization of the Eurological streams of thought that compound the debate of presence. This section maps the philosophical 4 literature produced by significant authors in the Eurological scholarly tradition. My intention here is to locate fundamental discussions around presence that influenced or were influenced by the ways in which theatre and art performance scholars and practitioners deal with the issue of presence. Although not all the philosophers in this area refer precisely to presence, they all develop and engage with concepts that dialogue with it. This section encompasses critiques about the tendency to compartmentalize the lived experience in terms such as time and space (Bergson 2010) as well as the ways in which the perception plays an important role in making sense of one’s presence or even existence (Bergson 2012; Sartre 2005; Husserl 2008 among others). Other important Eurological philosophical approaches address the concepts of memory, consciousness, perception, and phenomenon. Two important streams – phenomenology and semiotics – provide key elements to the theoretical development of different ways of approaching the issue of presence in performing arts. While phenomenology privileges the body in relationship with the phenomenological world, semiotics calls attention to the composition of meanings that is grounded on a textual definition and analysis of the cultural phenomena.

2. The second section of this area, titled On-Stage and Off-Stage – Being Present and Being Absent in Performing Arts Studies, considers the studies of performing arts scholars around the issue of presence, also in an Eurological perspective. Although some of the scholars referred in this sections are also performers, directors, and/or actors, they are put along with those that are dedicated to the philosophical and scholarly study of performance and that dedicate a special room to the debates surrounding presence. This section is subdivided in three subsections. The categories elected to this subdivision reflect the emphasis on three fundamental elements of the theatrical practice. As I demonstrate in the introduction, the issues of acting, the space elected for the theatrical event, and the audience are venues through which we can develop the debates around presence regarding theatrical practice. Also, it is important to say that none of these categories constitute monolithic blocks of analysis but are methodologically useful to the organization of this literature review.

2.1. Acting as negotiation – the body in the action of dealing with the levels of presence and absence is the name of the subsection dedicated to the writings that focus on the actor and the issue of acting as a venue to enhance the debates around presence. This 5 subsection includes the studies that privilege the actor’s training as a way of enhancing, or augmenting the stage presence (Zarrilli 2008; Pavis 1997; Saltz 1991, among others), as well as the concerns around the literal presence before the audience. Also, this subsection covers a sample of studies that privilege the relationship actor-character and how the negotiation of presence between these two ‘entities’ can be operated before the audience or, rather, with the participation of the audience (Kaye, Giannachi, e Shanks 2012a). It’s important to note that not all the authors enlisted here have the actor or the actor’s or performer’s body as the main focus of their broader research. Rather, some of them are also enlisted in other sections or subsections, however with different works. This is symptomatic of the vast array of elements that are embedded in the debates around presence and that will need an even closer reading to propose different categorizations. The first possible categorization that comes to mind would be a polarization between the phenomenological and the semiotic approaches. Although some authors privilege one over the other, both approaches are necessary for an in-depth conversation of presence, as evidenced by Fischer-Lichte’s analysis, when she considers the ways in which the audience deals with the actor’s phenomenological presence in relationship to the character’s semiotic presence (Kaye, Giannachi, e Shanks 2012a). Another way of understanding this debate would raise another binary between Modernist and Postmodernist approaches. That is tempting, I must confess, but not productive at this stage of my study.

2.2. The second subsection, Space as device - non-corporeal issues that enhance or obscure the perception of presence – stage, virtual space, cultural environment, and vestiges, gathers the writings that talk about presence and other correlated concepts focusing on the both the material and non-material space where the theatrical experience/event takes place. This is the place where I intend to understand presence in ways that, yet related to the relationship actor/performer – audience, has its focus on: the role played by the space where that relationship occurs (States 1985); the technological elements that trouble or enhance that relationship (Giannachi 2004; Giannachi and Kaye 2011); the ways in which the performance is brought to be present in the vestiges that were left behind after its consummation (Jones 1997). This subsection is fundamental to emphasize the different aspects of mediation that influence the negotiation of presence. 6

2.3. The One Who Sees – The Audience’s Gaze Being Present, Rendering Presence, and Demanding Presence in this subsection I gather writings that focus on the audience as a fundamental element either to the event of presence or to the measurement of the effects of presence, or for both. Since the notion of theatre is, generally speaking, connected to the existence of an audience (Postlewait 1989), this is also commonly considered as a main element to the investigation of the issue of presence. Scholars and theatre practitioners have given special attention to the relationship between actor – audience as possibly the main aspect upon which to build a theory of presence in theatre and performance studies. Always bearing in mind that this whole first area privileges the Eurological approach, the audience in these writings are also mainly considered as a uniform entity which passivity or activity are eventually considered, but there is not an emphasis on its racial, gendered, and sexual configuration, what also must be problematized.

3. What Might Be to Be Present in Theatrical and Performance Art, in the last section of the first area, I map the writings of some directors, actors, and performers who deal with the issue of presence in their artistic work or theoretical and conceptual formulations: Eugene Barba’s investment on the pre-expressive phase of the actor training that enhances or augments the actor’s presence on stage (Barba 2002; Barba and Savarese 2005); the concerns of the relationship established between actors and audience, including a radical disruption of that relationship (Schechner e Wolford 1997; Barba e Grotowski 1969a); the ‘plague effect’ that the ‘true theatre’ should cause in the audience and the role played by the space to the achievement (Artaud 1958a). Peter Brook, Berthold Brecht, Konstantin Stanislavski, Augusto Boal, and other names considered fundamental to the understanding of the contemporary Western theatre are also part of this section (Brecht e Willett 1992; Stanislavsky 1989; Boal 2006; Brook 1994).

Area 2 – Diasporic Black Body: an entity demanding and challenging presence

This area explores the scholarship pertaining to the black body in the context of African Diaspora. My goal is to provide a theoretical background that provides a critical analysis on the 7 Euro-Modern theories about the black body, and how this both influenced the politics of domination against the black body and also established the black body as the ultimate aspect that grounds the politics and aesthetics in the context of African Diaspora. In the sections contained in this area I map readings that raise concepts that will be useful in the establishment of the black body as the central concern of my research and how issues such as displacement, absence, interpellation, self-determination, black death, structural violence, among many others, are inextricably linked to the politic-aesthetics of black theatre. This area also problematizes assumptions such as resistance, agency, visibility and representation that are sometimes taken for granted or acritically assumed in the debates regarding black historical and political agency. Rather than positing the black body as inherently autonomous, present, and visible, I focus on the black body as the catalyzer to the disruption or critical approach of such concepts. A body that, at once, demands presence and challenges its very conceptual and material feasibility. This area is divided into sections that focus on: debates around the notion of African Diaspora; black body and black subjectivity;

1. African Diaspora – Which Processes Condition the Black Body’s Material and Existential Presence? This section highlights important theories and concepts of African Diaspora. My objective is to understand how far the idea of African Diaspora expands and constrains the analysis and perspectives of black struggle and/or existence around the globe. Departing from conceptual notions of Diaspora (Clifford 1997) and its understanding in face of the cultural political uses of the term (E. T. Gordon e Anderson 1999) I want to put into question the geography and political context of production of this knowledge. One question that is extremely necessary to ask is about the limits and political controversies that a notion of Diaspora produced in the Northern part of the world, albeit taking into encompassing in its formulation studies developed about the populations of other regions (Herskovits 1958; Yelvington 2001) and the (aimed to be) global political ideologies, which reinforce a politics of transformation (Padmore 1971), I hope to provide other aspects that still need to be considered in that formulation. In this section, the scholarly disputes around the reigning concepts or criteria to name, identify and define the characterizing elements of what is called African Diaspora (Gilroy 1993a; T. R. Patterson 2000a; Edwards et al. 2000a; Mbembe 2001; Mbembe 2003) are brought up along with theorizations about black struggle in Brazil (Do Nascimento 1980; Bairros 1995; Gonzalez 1988; Munanga 2009; Werneck 2008), in order to 8 provide connections and disconnections that will offer a more consistent ground and justification for an interdisciplinary approach based on a transnational scholarship.

2. In the section Black Body – an Invention That Gives Sense to Modernity, I map critical readings in the fields of black studies, queer studies, and black feminism that point to the formation of the racial black body as a central aspect to the formation of Modernity and its westernization through colonialism. This section encompasses readings such as Black Skin White Mask (Fanon 2008), where Franz Fanon gives an important account of the formation of the black body in the context of colonialism. By studying different aspects regarding the existence or inexistence of the idea of a black subject, he draws heavily on phenomenological approaches about the black body to understand the limits of a psychoanalytical explanation of the black subjectivity. In doing so, Fanon centers the black body in relationship to the surrounding world and challenges notions such as corporeal schema and suggest that the black body demands an understanding of how works what he defines as corporeal schema. These analyses made by Fanon will influence several scholars interested in understanding both the mechanisms of oppression as well as the possibilities, or impossibilities, left to the black body in terms of political and historical agency. In this sense, this section privileges both the phenomenological (Ahmed 2006; L. Gordon 1996), and discursive (Higginbotham 1992; Spillers 2003) approaches regarding the black body as well as the role played by suffering foisted upon the black body to the formation of what we now know as Modernity (F. B. Wilderson 2010; S. V. Hartman 1997; Buck-Morss 2009). An important dialogue and perhaps criticism regarding the significance of the processes of slavery and colonization to the formation of Modernity is also necessary in this section. Depending on the perspective that we approach the formation of the black body – as due to the process of colonialism or due to the process of slavery – we can figure out the formation of the ideas surrounding the black body as consequence or fundament of Modernity. Studies about colonialism and postcolonialism (Mbembe 2001; Mbembe 2003), as well as slavery and the after-life of slavery (O. Patterson 1985; S. Hartman 2008a; S. V. Hartman e Wilderson 2003) will be part of this debate.

3. Black subjectivity – Gender, Sexuality, and Racial Mixture: Troubling Spaces. In this section I focus on texts regarding black sexuality and gender that are connected with the 9 blurring of the boundaries between public and private spheres as well as the construction of different spatialities (McKittrick, 2006). This section brings the discussions that point to the importance of race as the element that renders the “abnormality” of gender and sexuality regarding the black body (Carrington, 2010; Alexander; 2006; Bhattacharyya, 1998, among others). These studies are also put in dialogue with discussions on racial mixture and mestiçagem due to their entanglement with sexual violence (Hine, 1989; McGuire, 2011, among others) and how it impacts the construction of black subjectivity (Nascimento, 2004; Sexton, 2003; 2008, among others). Finally, I point to the influence of the space as a fundamental aspect that relates the perception and construction of black subjectivity regarding race, gender, and sexuality (Ahmed, 2012; Carneiro 2011; Browne 2010; 2012, among others).

Area 3 - To Be (Seen) or Not to Be (Seen): That’s the question – The Black Body Within Black Political Culture and Aesthetics

This area raises the studies that focus on black culture as politics. Here I don’t want to rapidly affiliate with those who see every single manifestation of black expressive culture as an act of resistance. Rather, notwithstanding the political power of black culture, I want to investigate the assumptions regarding the connection between power/representantion/visibility. Considering the historical contexts that shaped the black body in the context of diaspora, the question that pervades this section regards the traps of the exposition and consumption of the black body. What is the difference between black culture and the black culture made to be seen? Does visibility render power regarding the black body? How the black body deals with the visual trouble that its presence provokes? Are the political investments for participation in the visual media reinforcing the hypervisibility of the black body? This area is divided in three subsections divided as follows:

1. In “Artisticized” Black Body – Making Efforts to Play Visible I pursue the questions of visibility, invisibility, and hypervisibility regarding the black body (Fleetwood, 2011). This section provides historical context regarding the black body in Brazilian theatre (Martins, 1995; Mendes, 1982 and Barros, 2005) as well as the turning point for the formation of a Brazilian politically engaged black theatre (Nascimento, 2004; Domingues 2009; Lima 2010; 10 Mello and Bairros, 2005; Mello 2006; 2009, among others). Along these lines, I also point to studies on the political commitment of black performance in US (Ugwu, 1995) and the uses of performance to resignify and problematize the politics of identity (Smith, 2011). My aim here is to identify elements of a political agenda regarding black theatre and performance, as well as the aesthetic choices, in order to problematize the emphasis on representation, visibility, and institutionalization.

2. The section Culture of Politics – The Layers of Making Unseen points to readings about black culture with emphasis on their political aspects. Rather than affirming black culture as politics of resistance, my goal is to map the studies that shed light on the politics of black quotidian life (Kelley, 1997; 1997) and popular culture (Mercer, 1994; Moten, 2003; Iton, 2008; Vargas 2008). In dialogue with those perspectives, I map the studies on black ritual culture in the Brazilian context and their eventual political entanglements (Barreto, 2009; Martins, 1997; Reis, 1991; Sodré 2002, among others). My objective is to investigate the multiple layers of both black culture and politics in order to unveil the power of the unseen.

3. The Black Body Exposed –Politics of Visibility and the Haunting Consumption is dedicated to the struggles regarding black body in the realm of visual exposition and consumption (Carvalho, 2004; Piper, 1999; Ribeiro, 2010, among others). Here I put in dialogue the discourses about the absence of both quantitative and qualitative representation in the visual media – with special emphasis on TV and cinema – (Araujo, 2000, 2008, 2010; Rodrigues, 2001, among others). The contradictory uses of visual culture and visual mass media as consumption, construction, and destruction of black body (Marriott, 2007; Miller-Young 2008; Sodré, 1999) point to a terrain that is far to be solved and fully understood regarding the visual apprehension of the black body.

11 SUMMARY OUTLINE

Area 1 - Several Presences and Absences in Western Philosophy, Theatre and, Performance Studies – Eurological Perspectives

1. Presence is not an obvious matter. This section points out Eurological philosophical studies that are commonly mentioned in the debates of presence. Although I can already have a superficial notion of part of the debates that are brought up in the readings of this section, it actually points to an important area in the debates around presence that I need to engage with in order to deeper develop my research.

2. On-Stage and Off-Stage – Being Present and Being Absent in Performing Arts Studies. This section considers the studies of performing arts scholars around the issue of presence, also in a Eurological perspective. Although some of the scholars referred in this section are also performers, directors, and/or actors, they were put along with those that are dedicated to the philosophical and scholarly study of performance and that dedicate a special room to the debates surrounding presence.

2.1. Acting as negotiation – the body in the action of dealing with the levels of presence and absence. This subsection is dedicated to the writings that focus on the actor and the issue of acting as a venue to enhance the debates around presence. This subsection includes the studies that privilege the actor’s training as a way of enhancing, or augmenting the stage presence, as well as the concerns around the literal presence before the audience, and the effect of presence in the interplay actor-character.

12 2.2. Space as device - non-corporeal issues that enhance or obscure the perception of presence – stage, virtual space, cultural environment, and vestiges. In this subsection I try to understand presence in ways that, yet related to the relationship actor/performer – audience, has its focus on: the role played by the space where that relationship occurs; the technological elements that trouble or enhance that relationship; the ways in which the performance is brought to be present in the vestiges that were left behind after its consummation.

2.3. The One Who Sees – The Audience’s Gaze Being Present, Rendering Presence, and Demanding Presence. In this subsection I focus on the audience as fundamental element either to the event of presence or to the measurement of the effects of presence, or for both. Always bearing in mind that this whole first area privileges the Eurological approach, the audience in these writings are also mainly considered as a uniform entity which passivity or activity are eventually considered, but there is not an emphasis on its racial, gendered, and sexual configuration, what also must be problematized.

3. What Might Be to Be Present in Theatrical and Performance Art. The last section of the first area maps the writings of some directors, actors, and performers that, in their artistic work or theoretical and conceptual formulations, dealt with the issue of presence and/or enhanced the debates around this theme.

Area 2 – Diasporic Black Body: an entity demanding and challenging presence

This area explores the bibliography regarding the black body in the context of African Diaspora. My aim is to provide a theoretical background that provides a critical analysis on the Euro-Modern theories about the black body, and how this both influenced the politics of domination against the black body and also established the black body as the ultimate aspect that grounds the politics and aesthetics in the context of African Diaspora.

1. African Diaspora – Which Processes Condition the Black Body’s Material and Existential Presence? This section puts in debate important theories and concepts of African Diaspora. My goal is to understand how far the idea of African Diaspora expands 13 and constrains the analysis and perspectives of black struggle and/or existence around the globe.

2. Black Body – an Invention That Gives Sense to Modernity. In this section I map critical readings in the fields of black studies, queer studies, and black feminism that point to the formation of the racial black body as a central aspect to the formation of Modernity and its westernization through slavery and colonialism.

3. Black subjectivity – Gender, Sexuality, and Racial Mixture: Troubling Spaces. In this section I focus on discussions regarding black sexuality and gender and the debates around racial mixture and mestiçagem. This section brings the discussions that point to the importance of race as the element that renders the “abnormality” of gender and sexuality regarding the black body and racial mixture as a sign of violence. In this section the issue of the space appears as one more complicating element in the formation of black subjectivity.

Area 3 - To Be (Seen) or Not to Be (Seen): That’s the question – The Black Body Within Black Political Culture and Aesthetics

This area raises the studies that focus on the black culture as politics. Notwithstanding the political power of black culture, I want to investigate the assumptions regarding the connection power / representation / visibility. Considering the historical contexts that shaped the black body in the context of diaspora, the question that pervades this section regards the traps of the exposition and consumption of the black body.

1. “Artisticized” Black Body – Making a Hard Work to Become Visible. This section provides historical context regarding the black body in Brazilian theatre as well as the turning point for the formation of a Brazilian politically engaged black theatre. Along these lines, I also engage with studies on the political commitment of black performance in US.

2. Culture as Politics – The Layers of Making Unseen. Rather than affirming black culture as synonymous to politics of resistance, this section maps the studies that shed light on the 14 politics of black quotidian life and popular culture. My aim is to investigate the multiple layers of both black culture and politics in order to unveil the power of the unseen.

3. The Black Body Exposed –Politics of Visibility and the Haunting Consumption. This section is dedicated to the struggles regarding black body in the realm of visual exposition and consumption. The contradictory uses of visual culture and visual mass media as consumption, construction, and destruction of black body point to a terrain that is far to be solved and fully understood regarding the visual apprehension of the black body.

15 OUTLINE WITH CITATIONS

Area 1 - Several Presences and Absences in Western Philosophy, Theatre and, Performance Studies – Eurological Perspectives

1. Presence is not an obvious matter. (Armstrong 1981; Auslander 1994; Barish 1981; Baudrillard 1981; Bergson 2010; Bergson 2012; Deleuze 1989; Derrida 1973; Derrida 1997; Dufrenne 1973; Eco 1977; Eco 1978; Eco 1986; Elam 2002; Heidegger 2008; Merleau-Ponty 1964; Merleau-Ponty 1969; Merleau- Ponty and Smith 2002; Meyer-Dinkgrafe 2005; Meyer-Dinkgrafe 2001; J. P. Sartre 1976; J. P. Sartre 2005; Ubersfeld, Perron, and Debbèche 1999)

2. On-Stage and Off-Stage – Being Present and Being Absent in Performing Arts Studies 2.1. Acting as negotiation – the body in the action of dealing with the levels of presence and absence (Auslander 1997; Baofu 2012; Feral 2009b; Goodall 2009; A. Jones 1998; A. Jones 2006; A. Jones 2011; A. Jones, Nfa, e Stephenson 1999; Kaye e Giannachi 2011; Parker- Starbuck 2011; Pavis 1997; Richards e Grotowski 1995; Salata 2008; Saltz 1991; Schneider 1997; Zarrilli 1995; Zarrilli 2008)

2.2. Space as device - non-corporeal issues that enhance or obscure the perception of presence – stage, virtual space, cultural environment, and vestiges (Egginton 2002; Feral 2000; Feral 2009a; Feral e Bermingham 2002; Féral 2003; Féral e Dragaitis 1981; Féral e Wickes 2007; Garner 1994; Giannachi 2004; Graver 1995; A. Jones 1997; Kaprow e Lebel 1966; Mock 2000; Pavis 1991; Pavis 2001; States 1985; Taylor 1997; Object of Performance: The American Avant-Garde since 1970: 1st (First) Edition 1992)

2.3. The One Who Sees – The Audience’s Gaze Being Present, Rendering Presence, and Demanding Presence (Blau 1990; Féral 1987; Féral e Bermingham 1987; Féral e Wickes 2011; FISCHER- LICHTE 2008; A. Jones 2012; Kaye, Giannachi, e Shanks 2012b; Kruger e Graver 16 1991; Pavis 2003; Phelan 1993; Postlewait 1989; Postlewait e Canning 2010; Power 2008)

3. What Might Be to Be Present in Theatre and Performance Art (Artaud 1958b; Barba 1995; Barba 2002; Barba e Grotowski 1969b; Barba e Savarese 2005; Boal 2006; Brecht e Willett 1992; Brook 1987; Brook 1993; Brook e Grotowski 1968; Chaikin 2012; Feral 1989; Feral 1990; Féral e Husemoller 1989; Lavery 2010; Ley-Piscator 1967; Ryan 1984; Stanislavsky 1989)

Area 2 – Diasporic Black Body: an entity demanding and challenging presence

1. African Diaspora – Which Processes Condition the Black Body’s Material and Existential Presence? (Afolabi 2012; Beltrán 1987; Bois 2012a; Bois 2012b; Clifford 1997; Da Silva 1998; A. Do Nascimento 1980; Edwards 2001; Edwards et al. 2000b; Fanon e Philcox 2004; Frazier 2001; Gilroy 1993b; E. T. Gordon 2007; E. T. Gordon e Anderson 1999; Herskovits 1958; C. L. R. 1901-1989 (Cyril L. R. James 1989; R. D. G. Kelley 2000; Mercer 2008; Munanga 2009; Munanga e Gomes 2006; A. do Nascimento 1980; A. do Nascimento 2002; E. L. Nascimento 1996; Padmore 1971; T. R. Patterson 2000b; Reis 2003; Risério 2007; Robinson 2000; Sankofa 2008; Tinsley 2008; Williams e Chrisman 1994; Yelvington 2001)

2. Black Body – an Invention That Gives Sense to Modernity (Ahmed 2006; Ahmed 2007; Alexander 1994; Bell 1993; Bernstein 2011; Browne 2010; Browne 2012; Buck-Morss 2000; Buck-Morss 2009; Crenshaw et al. 1996; Ellison 1995; Fanon 2008; Fanon e Philcox 2004; Ferreira da Silva 2009; Gilroy 1993a; L. Gordon 1996; L. R. Gordon 2000; S. Hartman 2008a; S. V. Hartman 1997; S. V. Hartman e Wilderson 2003; Higginbotham 1992; Mbembe 2001; Mbembe 2003; C. Mills 2003; C. W. (Charles W. Mills 1997; Mngxitama, Alexander, e Gibson 2008; Moten 2008; Munanga 2004; Munanga e Gomes 2006; Omi e Winant 1994; O. Patterson 1985; G. A. dos Santos 2002; Sexton 2006; Sexton 2010; F. Wilderson 2003; F. B. Wilderson 2009; F. B. Wilderson 2010) 17

3. Black subjectivity – Gender, Sexuality, and Racial Mixture: Troubling Spaces (Alexander 2006; Bhattacharyya 1998; Blair 2010; Browne 2010; Browne 2012; S. Carneiro 2011; Carone, Bento, e Piza 2002; Carrington 2010; Cheng 2001; Clark-Hine 1988; Collins 2008; Ferguson 2003; E. T. Gordon 1997; L. Gordon 1995; Gross 2006; Halberstam 2005; HAMMONDS 1994; Haraway 1990; S. Hartman 2008b; Heap 2009; Hicks 2010; Hine 1989; J. James 1999; Johnson e Henderson 2005; J. Jones e Gordon 2009; Lorde 2012; Lorde e Camille 2000; Marriott 2000; McGuire 2011; McKittrick 2006; McLaurin 2012; Mitchell 1999; Munanga 1999; E. L. Nascimento 2003; E. L. Nascimento 2007; Painter 1994; Puwar 2004; Roberts 1998; Rosen 2008; Sandoval 2000; Scott 2010; Sexton 2003a; Sexton 2003b; Sexton 2008; Shakur e Davis 1999; Silva 2006; B. Smith 2000; Spillers 2003; Walcott 2009; F. B. Wilderson 2008; Wright 2004)

Area 3 - To Be (Seen) or Not to Be (Seen): That’s the question – The Black Body Within Black Political Culture and Aesthetics

1. “Artisticized” Black Body – Making Efforts to Play Visible (Almada 1995; Barros 2005; Brooks 2006; Domingues 2009; Fleetwood 2011; Jones, Moore, and Bridgforth 2010; Lima, 2010; Martins 1995; Mendes 1982; Mello and Bairros, 2005; Mello, 2006; Mello, 2007; Mello, 2009; Mello 2010; Mello 2011; Nascimento 1961; Nascimento 2004; Smith 2011; Teatro Experimental do Negro 1966; Ugwu 1995)

2. Culture of Politics – The Layers of Making Unseen (Barreto 2009; E. Carneiro 1977; Carvalho 2003; Gilroy 2002; Iton 2008; R. Kelley 1996; R. D. G. Kelley 2003; R. D. G. Kelley 1997; Lima 2003; Lima 2004; Martins 1997; Mercer 1994; Moten 2003; Moten 1994; A. do Nascimento 1995; Reis 1991; Reis 2008; E. F. Santos 2009; Sandoval e Davis 2000; Silveira 2006; Sodré 1989; Sodré 1983; Sodré 2002; Sodré 1988; Sodré 1979; Vargas 2008; Yemonjá e Lody 2002)

3. The Black Body Exposed – Politics of Visibility and the Haunting Consumption

18 (Amparo-Alves 2009; Araujo 2000; Araújo 2008; Araújo 2010; Carvalho 1996; Carvalho 2004; Carybé et al. 1980; Marriott 2007; Miller-Young 2008; Piper 1996; Ribeiro 2010; Rodrigues 2001; Soares 2012; Sodré 1984; Sodré 1999)

19 FULL REFERENCES

Area 1 - Several Presences and Absences in Western Philosophy, Theatre and, Performance Studies – Eurological Perspectives

1. Presence is not an obvious matter. Armstrong, Robert Plant. The Powers of Presence: Consciousness, Myth, and Affecting Presence. University of Pennsylvania Press, 1981.

Auslander, Philip. Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance. annotated edition. University of Michigan Press, 1994. Barish, Jonas A. The Antitheatrical Prejudice. University of California Press, 1981. Baudrillard, Jean. For a Critique of the Political Economy of the Sign. Telos Press, 1981. Bergson, Henri. Matter and Memory. Forgotten Books, 2012. ———. Time and Free Will; an Essay on the Immediate Data of Consciousness. Nabu Press, 2010. Deleuze, Gilles. Cinema 2: The Time-Image. 1st ed. Univ Of Minnesota Press, 1989. Derrida, Jacques. Of Grammatology. Johns Hopkins University Press, 1997. ———. Speech and Phenomena, and Other Essays on Husserl’s Theory of Signs. Northwestern University Studies in Phenomenology & Existential Philosophy. Northwestern University Press, 1973. Dufrenne, Mikel. The Phenomenology of Aesthetic Experience. Northwestern University Studies in Phenomenology & Existential Philosophy. Northwestern University Press, 1973. Eco, Umberto. A Theory of Semiotics. First Paperback Edition. Indiana University Press, 1978. ———. Semiotics and the Philosophy of Language. Reprint. Indiana University Press, 1986. ———. “Semiotics of Theatrical Performance.” The Drama Review: TDR 21, no. 1 (March 1, 1977): 107–117. Elam, Keir. The Semiotics of Theatre and Drama. New Accents (Routledge (Firm)). Routledge, 2002. Heidegger, Martin. Being and Time. Reprint. Harper Perennial Modern Classics, 2008. Merleau-Ponty, Maurice. Signs. Translated by Richard C. McCleary. 1st ed. Northwestern University Press, 1964. 20 ———. The Visible and the Invisible. Translated by Alphonso Lingis. 1st ed. Northwestern University Press, 1969. Merleau-Ponty, Maurice, and Colin Smith. Phenomenology of Perception. Routledge Classics. Routledge, 2002. Meyer-Dinkgrafe, Daniel. “Reading Theatre.” Theatre Research International 26, no. 3 (October 31, 2001): 308. ———. Theatre and Consciousness : Explanatory Scope and Future Potential. Intellect, 2005. Sartre, Jean Paul. Being and Nothingness : An Essay on Phenomenological Ontology. Routledge, 2005. Sartre, Jean-Paul. Sartre on Theater. Pantheon Books, 1976. Ubersfeld, Anne, Paul Perron, and Patrick Debbèche. Reading Theatre. Toronto Studies in Semiotics. University of Toronto Press, 1999.

2. On-Stage and Off-Stage – Being Present and Being Absent in Performing Arts Studies 2.1 Acting as negotiation – the body in the action of dealing with the levels of presence and absence Auslander, Philip. From Acting to Performance: Essays in Modernism and Postmodernism. Routledge, 1997. Baofu, Peter. The Future of Post-Human Performing Arts: A Preface to a New Theory of the Body and Its Presence. Cambridge Scholars Publishing, 2012. Feral, Josette. “Did You Say ‘Training’?” Performance Research 14, no. 2 (June 1, 2009): 16–25. doi:10.1080/13528160903319216. Goodall, Jane. Stage Presence. 1st ed. T & F Books UK, 2009. Jones, Amelia. Body Art/Performing the Subject. 1st ed. Univ Of Minnesota Press, 1998. ———. Self/image. Routledge, 2006. ———. “‘The Artist Is Present’: Artistic Re-enactments and the Impossibility of Presence.” TDR (1988-) 55, no. 1 (April 1, 2011): 16–45. Jones, Amelia, Andrew Stephenson Nfa, and Andrew Stephenson, eds. Performing the Body/Performing the Text. Routledge, 1999. Kaye, Nick, and Gabriella Giannachi. Performing Presence. Theatre (Manchester, England). Manchester University Press, 2011.

21 Parker-Starbuck, Jennifer. Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance. 1st ed. Palgrave Macmillan, 2011. Pavis, Patrice. “Underscore: The Shape of Things to Come.” Contemporary Theatre Review 6, no. 4 (Outubro 1997): 37–61. Richards, Thomas, and Jerzy Grotowski. At Work with Grotowski on Physical Actions. Routledge, 1995. Salata, Kris. “Toward the Non(Re)presentational Actor: From Grotowski to Richards.” TDR: The Drama Review 52, no. 2 (June 1, 2008): 107–125. doi:10.1162/dram.2008.52.2.107. Saltz, David Z. “How to Do Things on Stage.” The Journal of Aesthetics and Art Criticism 49, no. 1 (January 1, 1991): 31–45. Schneider, Rebecca. The Explicit Body in Performance. Routledge, 1997. Zarrilli, Phillip B., ed. Acting (Re)Considered: Theories and Practices. Routledge, 1995. Zarrilli, Phillip B. Psychophysical Acting: An Intercultural Approach After Stanislavski. Pap/Dvdr. Routledge, 2008.

2.2 Space as device - non-corporeal issues that enhance or obscure the perception of presence – stage, virtual space, cultural environment, and vestiges Egginton, William. How the World Became a Stage: Presence, Theatricality, and the Question of Modernity. State University of New York Press, 2002. Feral, Josette. “Beyond the Cultural Perspective, Toward Transcultural Identities, or, Is Interculturalism Still Possible?” Canadian Theatre Review no. 139 (January 1, 2009): 6. ———. “‘The Artwork Judges Them’: The Theatre Critic in a Changing Landscape.” New Theatre Quarterly 16, no. 64 (November 1, 2000): 307. Féral, Josette. Acerca De La Teatralidad. Cuadernos De Teatro XXI. Editorial Nueva Generación, 2003. Feral, Josette, and Ronald P. Bermingham. “Theatricality: The Specificity of Theatrical Language.” SubStance 31, no. 2 (June 1, 2002): 94–108. doi:10.1353/sub.2002.0026. Féral, Josette, and Kristina Dragaitis. “Towards a Theory of Displacement.” SubStance 10, no. 3 (January 1, 1981): 52–64. Féral, Josette, and Leslie Wickes. “Moving Across Languages.” Yale French Studies no. 112 (January 1, 2007): 50–68.

22 Garner, Stanton B. Bodied Spaces: Phenomenology and Performance in Contemporary Drama. Cornell University Press, 1994. Giannachi, Gabriella. Virtual Theatres: An Introduction. Routledge, 2004. Graver, David Arthur. The Aesthetics of Disturbance: Anti-Art in Avant-Garde Drama. University of Michigan Press, 1995. Jones, Amelia. “‘Presence’ in Absentia: Experiencing Performance as Documentation.” Art Journal 56, no. 4 (January 1, 1997): 11–18. Kaprow, Allan, and Jean Jacques Lebel. Assemblage, Environments & Happenings. H. N. Abrams, 1966. Mock, Roberta. Performing processes: creating live performance. Bristol, UK; Portland, OR: Intellect, 2000. http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=734 88. Pavis, Patrice. Languages of the Stage: Essays in the Semiology of the Theatre. PAJ Publications, 2001. ———. Theatre at the Crossroads of Culture. Routledge, 1991. States, Bert O. Great Reckonings in Little Rooms: On the Phenomenology of Theatre. University of California Press, 1985. Taylor, Diana. Disappearing Acts: Spectacle of Gender and Nationalism in Argentina’s Diry War. Duke University Press, 1997. Object of Performance: The American Avant-Garde Since 1970: 1st (First) Edition. University of Chicago Press, 1992.

2.3 The One Who Sees – The Audience’s Gaze Being Present, Rendering Presence, and Demanding Presence Blau, Herbert. The Audience. Parallax : Re-visions of Culture and Society. Johns Hopkins University Press, 1990. Féral, Josette. “Brecht Inverted: Alienation Effect and Multimedia.” Theatre Journal 39, no. 4 (December 1, 1987): 461. Féral, Josette, and Ron Bermingham. “Alienation Theory in Multi-Media Performance.” Theatre Journal 39, no. 4 (December 1, 1987): 461–472.

23 Féral, Josette, and Leslie Wickes. “From Event to Extreme Reality The Aesthetic of Shock.” TDR: The Drama Review 55, no. 4 (January 1, 2011): 51–63. FISCHER-LICHTE, ERIKA. “Reality and Fiction in Contemporary Theatre.” Theatre Research International 33, no. 1 (March 1, 2008): 84–96. doi:10.1017/S0307883307003410. Jones, Amelia. Seeing Differently. Taylor & Francis, 2012. Kaye, Nick, Gabriella Giannachi, and Michael Shanks. Archaeologies of Presence. Routledge, 2012. Kruger, Loren, and David Graver. “Dispossessing the Spectator: Performance, Environment, and Subjectivity in Theatre of the Homeless.” TDR (1988-) 35, no. 2 (January 1, 1991): 157–175. Pavis, Patrice. Analyzing Performance: Theater, Dance, and Film. Translated by A. David Williams. University of Michigan Press, 2003. Phelan, Peggy. Unmarked: The Politics of Performance. Routledge, 1993. Postlewait, Thomas. Interpreting The Theatrical Past: Historiography Of Performance. 1st ed. University Of Iowa Press, 1989. Postlewait, Thomas, and Charlotte M. Canning. Representing the Past: Essays in Performance Historiography. University of Iowa Press, 2010. Power, Cormac. Presence in Play : A Critique of Theories of Presence in the Theatre. Amsterdam: Rodopi, 2008.

3. What Might Be to Be Present in Theatre and Performance Art Artaud, Antonin. The Theater and Its Double. Grove Press, 1958. Barba, Eugenio. “The Essence of Theatre.” TDR - The Drama Review 46, no. 3 (November 1, 2002): 12–30. doi:10.1162/105420402320351459. ———. The Paper Canoe. Routledge, 1995. Barba, Eugenio, and Jerzy Grotowski. Towards a Poor Theatre, 1969. Barba, Eugenio, and Nicola Savarese. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. 2nd ed. Routledge, 2005. Boal, Augusto. The Aesthetics of the Oppressed. Routledge, 2006. Brecht, Bertolt, and John Willett. Brecht on Theatre. Hill and Wang, 1992. Brook, Peter. The Shifting Point, 1946-1987. Harper & Row, 1987. ———. There Are No Secrets. Methuen, 1993. 24 Brook, Peter, and Jerzy Grotowski. Towards a Poor Theatre. Simon & Schuster, 1968. Chaikin, Joseph. The Presence of the Actor. Theatre Communications Group, 2012. Feral, Josette. “Buiding Up the Muscle--An Interview with Ariane Mnouchkine.” TDR 33, no. 4 (February 1, 1990): 88. ———. “Theatre Du Soleil--A Second Glance.” TDR 33, no. 4 (January 1, 1989): 98. Féral, Josette, and Anna Husemoller. “Mnouchkine’s Workshop at the Soleil: A Lesson in Theatre.” TDR (1988-) 33, no. 4 (December 1, 1989): 77–87. Lavery, Carl. The Politics of Jean Genet’s Late Theatre: Spaces of Revolution. Theatre : Theory, Practice, Performance. Distributed in the United States exclusively by Palgrave Macmillan, 2010. Ley-Piscator, Maria. The Piscator Experiment. J. H. Heineman, 1967. Ryan, Betsy Alayne. Gertrude Stein’s Theatre of the Absolute. Vol. no. 21. Theater and Dramatic Studies. UMI Research Press, 1984. Stanislavsky, Konstantin. An Actor Prepares. Routledge, 1989.

Area 2 – Diasporic Black Body: an entity demanding and challenging presence

1. African Diaspora – Which Processes Condition the Black Body’s Material and Existential Presence? Afolabi, Niyi. “Quilombismo and the Afro-Brazilian Quest for Citizenship.” Journal of Black Studies 43, no. 8 (November 1, 2012): 847–871. doi:10.1177/0021934712461794. Beltrán, Luis. O Africanismo Brasileiro. Pool, 1987. Bois, W. E. B. (William Edward Burghardt) Du. The Negro, 2012. ———. The Souls of Black Folk, 2012. Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Harvard University Press, 1997. Edwards, Brent Hayes. “The Uses of Diaspora.” Social Text no. 66 (April 1, 2001): 45–73. Edwards, Brent Hayes, Cheryl Johnson-Odim, Agustín Laó-Montes, and Michael O. West. “‘Unfinished Migrations’: Commentary and Response.” African Studies Review 43, no. 1 (April 1, 2000): 47–68. Fanon, Frantz, and Richard Philcox. The Wretched of the Earth. Distributed by Publishers Group West, 2004. 25 Frazier, Edward F. The Negro Family in the United States. University of Notre Dame Press, 2001. Gilroy, Paul. The Black Atlantic: Modernity and Double-Consciousness. Reissue. Harvard University Press, 1993. Gordon, Edmund T. “The Austin School Manifesto: : An Approach to the Black or African Diaspora.” Cultural Dynamics 19, no. 1 (March 1, 2007): 93–97. doi:10.1177/0921374007077280. Gordon, Edmund T., and Mark Anderson. “The African Diaspora: Toward an Ethnography of Diasporic Identification.” The Journal of American Folklore 112, no. 445 (July 1, 1999): 282– 296. Herskovits, Melville J. 1895-1963 (Melville Jean). The Myth of the Negro Past. Vol. no. 69. Beacon Paperbacks. Beacon Press, 1958. James, C. L. R. 1901-1989 (Cyril Lionel Robert). The Black Jacobins: Toussaint L’Ouverture and the San Domingo Revolution. Vintage Books, 1989. Kelley, Robin D. G. “How the West Was One: On the Uses and Limitations of Diaspora.” The Black Scholar 30, no. 3/4 (January 1, 2000): 31. Mercer, Kobena. Exiles, Diasporas & Strangers. Annotating Art’s Histories. MIT Press, 2008. Munanga, Kabengele. Origens Africanas Do Brasil Contemporâneo: Histórias, Línguas, Culturas e Civilizações. Global Editora, 2009. Munanga, Kabengele, and Nilma Lino Gomes. O Negro No Brasil De Hoje. Coleção Para Entender. Global Editora, 2006. Nascimento, Abdias do. O Brasil Na Mira Do Pan-africanismo. EDUFBA/CEAO, 2002. ———. O Quilombismo: Documentos De Uma Militância Pan-africanista. Vozes, 1980. Do Nascimento, Abdias. “An Afro-Brazilian Political Alternative.” Journal of Black Studies 11, no. 2 (December 1, 1980): 141–178. doi:10.1177/002193478001100201. Nascimento, Elisa Larkin. Sankofa: Matrizes Africanas Da Cultura Brasileira. EdUERJ, 1996. Padmore, George. Pan-Africanism or Communism. Doubleday, 1971. Patterson, Tiffany Ruby. “Unfinished Migrations: Reflections on the African Diaspora and the Making of the Modern World.” African Studies Review 43, no. 1 (April 1, 2000): 11–45. Reis, João Jose. Rebelião Escrava No Brasil: a História Do Levante Dos Malês Em 1835. Companhia das Letras, 2003. Risério, Antonio. A Utopia Brasileira e Os Movimentos Negros. Editora 34, 2007.

26 Robinson, Cedric J. Black Marxism: The Making of the Black Radical Tradition. The University of North Carolina Press, 2000. Sankofa. “Entrevista - Kabengele Munanga: ‘África e Imagens De África’.” Sankofa : Revista De História Da África e De Estudos Da Diáspora Africana 1, no. 1 (June 10, 2008): 107–116. Da Silva, Denise Ferreira. “Facts of Blackness: Brazil Is Not Quite the United States … and Racial Politics in Brazil?1.” Social Identities 4, no. 2 (March 1, 1998): 201–234. doi:10.1080/13504639851807. Tinsley, Omise’eke Natasha. “BLACK ATLANTIC, QUEER ATLANTIC: Queer Imaginings of the Middle Passage.” GLQ: A Journal of Lesbian and Gay Studies 14, no. 2–3 (January 1, 2008): 191. doi:10.1215/10642684-2007-030. Williams, Patrick, and Laura Chrisman. Colonial Discourse and Post-colonial Theory. Columbia University Press, 1994. Yelvington, Kevin A. “The Anthropology of Afro-Latin America and the Caribbean: Diasporic Dimensions.” Annual Review of Anthropology 30 (January 1, 2001): 227–260.

2. Black Body – an Invention That Gives Sense to Modernity Ahmed, Sara. “A Phenomenology of Whiteness.” Feminist Theory 8, no. 2 (August 1, 2007): 149–168. doi:10.1177/1464700107078139. ———. Queer Phenomenology: Orientantions, Objects, Others. Duke University Press, 2006. Alexander, M. Jacqui. “Not Just (Any) Body Can Be a Citizen: The Politics of Law, Sexuality and Postcoloniality in Trinidad and Tobago and the Bahamas.” Feminist Review no. 48 (October 1, 1994): 5–23. Bell, Derrick. Faces At The Bottom Of The Well: The Permanence Of Racism. Reprint. Basic Books, 1993. Bernstein, Robin. Racial Innocence: Performing American Childhood from Slavery to Civil Rights. America and the Long 19th Century. New York University Press, 2011. Browne, Simone. “Digital Epidermalization: Race, Identity and Biometrics.” Critical Sociology 36, no. 1 (January 1, 2010): 131–150. doi:10.1177/0896920509347144. ———. “Everybody’s Got a Little Light Under the Sun: Black Luminosity and the Visual Culture of Surveillance.” Cultural Studies 26, no. 4 (July 1, 2012): 542. 27 Buck-Morss, Susan. “Hegel and Haiti.” Critical Inquiry 26, no. 4 (July 1, 2000): 821–865. ———. Hegel, Haiti, and Universal History. 1st ed. University of Pittsburgh Press, 2009. Crenshaw, Kimberle, Neil Gotanda, Gary Peller, and Kendall Thomas, eds. Critical Race Theory: The Key Writings That Formed the Movement. New Press, The, 1996. Ellison, Ralph. Invisible Man. 2nd ed. Vintage, 1995. Fanon, Frantz. Black Skin, White Masks. Distributed by Publishers Group West, 2008. Fanon, Frantz, and Richard Philcox. The Wretched of the Earth. Distributed by Publishers Group West, 2004. Ferreira da Silva, Denise. “The End of Brazil: An Analysis of the Debate on Racial Equity on the Edges of Global Market Capitalism. (2007 LatCrit South-North Exchange on Theory, Culture and Law).” National Black Law Journal 21, no. 3 (October 1, 2009): 1. Gilroy, Paul. The Black Atlantic: Modernity and Double-Consciousness. Reissue. Harvard University Press, 1993. Gordon, Lewis, ed. Existence in Black: An Anthology of Black Existential Philosophy. 1st ed. Routledge, 1996. Gordon, Lewis R. Existentia Africana: Understanding Africana Existential Thought. Routledge, 2000. Hartman, Saidiya. Lose Your Mother: A Journey Along the Atlantic Slave Route. 1st ed. Farrar, Straus and Giroux, 2008. Hartman, Saidiya V. Scenes of Subjection: Terror, Slavery, and Self-making in Nineteenth- century America. Race and American Culture. Oxford University Press, 1997. Hartman, Saidiya V., and Frank B. Wilderson. “THE POSITION OF THE UNTHOUGHT.” Qui Parle 13, no. 2 (April 1, 2003): 183–201. Higginbotham, Evelyn Brooks. “African-American Women’s History and the Metalanguage of Race.” Signs 17, no. 2 (January 1, 1992): 251–274. Mbembe, Achille. “Necropolitics.” Public Culture 15, no. 1 (January 1, 2003): 11. doi:10.1215/08992363-15-1-11. ———. On the Postcolony. 1st ed. University of California Press, 2001. Mills, Charles. From Class to Race: Essays in White Marxism and Black Radicalism. Rowman & Littlefield Publishers, 2003. Mills, Charles W. (Charles Wade). The Racial Contract. Cornell University Press, 1997.

28 Mngxitama, A., A. Alexander, and N. Gibson. Biko Lives: Contesting the Legacies of Steve Biko. Contemporary Black History. Palgrave Macmillan, 2008. Moten, Fred. “The Case of Blackness.” Criticism 50, no. 2 (January 1, 2008): 177–218. doi:10.1353/crt.0.0062. Munanga, Kabengele. História Do Negro No Brasil. Fundação Cultural Palmares-MinC, 2004. Munanga, Kabengele, and Nilma Lino Gomes. O Negro No Brasil De Hoje. Coleção Para Entender. Global Editora, 2006. Omi, Michael, and Howard Winant. Racial Formation in the United States: From the 1960s to the 1990s. 2nd ed. Routledge, 1994. Patterson, Orlando. Slavery and Social Death: A Comparative Study. Harvard University Press, 1985. Santos, Gislene Aparecida dos. A Invenção Do “Ser Negro”: Um Percurso Das Idéias Que Naturalizaram a Inferioridade Dos Negros. Fapsep, 2002. Sexton, Jared. “People-of-Color-Blindness: Notes on the Afterlife of Slavery.” Social Text no. 103 (July 1, 2010): 31–56. ———. “Race, Nation, and Empire in a Blackened World.” Radical History Review no. 95 (January 1, 2006): 250. Wilderson, Frank. “Gramsci’s Black Marx: Whither the Slave in Civil Society?” Social Identities 9, no. 2 (June 1, 2003): 225–240. doi:10.1080/1350463032000101579. Wilderson, Frank B. “GRAMMAR and GHOSTS: THE PERFORMATIVE LIMITS OF AFRICAN FREEDOM.” Theatre Survey 50, no. 1 (May 1, 2009): 119–125. doi:10.1017/S004055740900009X. ———. Red, White & Black: Cinema and the Structure of US Antagonisms. Duke University Press, 2010.

3. Black subjectivity – Gender, Sexuality, and Racial Mixture: Troubling Spaces Alexander, M. Jacqui. Pedagogies of Crossing: Meditations on Feminism, Sexual Politics, Memory, and the Sacred. First Edition. Duke University Press Books, 2006. Bhattacharyya, Gargi. Tales Of Dark Skinned Women: Race, Gender And Global Culture. Routledge, 1998. Blair, Cynthia M. I’ve Got to Make My Livin’: Black Women’s Sex Work in Turn-of-the-Century Chicago. University Of Chicago Press, 2010. 29 Browne, Simone. “Digital Epidermalization: Race, Identity and Biometrics.” Critical Sociology 36, no. 1 (January 1, 2010): 131–150. doi:10.1177/0896920509347144. ———. “Everybody’s Got a Little Light Under the Sun: Black Luminosity and the Visual Culture of Surveillance.” Cultural Studies 26, no. 4 (July 1, 2012): 542. Carneiro, Sueli. Racismo, Sexismo e Desigualdade No Brasil. Consciência Em Debate. Selo Negro Edições, 2011. Carone, Iray, Maria Aparecida Silva Bento, and Edith Pompeu Piza. Psicologia Social Do Racismo: Estudos Sobre Branquitude e Branqueamento No Brasil. Psicologia Social. Editora Vozes, 2002. Carrington, Ben. Race, Sport and Politics: The Sporting Black Diaspora. 1st ed. Sage Publications Ltd, 2010. Cheng, Anne Anlin. The Melancholy of Race: Psychoanalysis, Assimilation, and Hidden Grief. Oxford University Press, USA, 2001. Clark-Hine, Darlene. “Rape and the Inner Lives of Black Women in the Middle West: Preliminary Thoughts on the Culture of Dissemblance.” Signs 14 (August 1, 1988): 912–920. Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. 1st ed. Routledge, 2008. Ferguson, Roderick A. Aberrations In Black: Toward A Queer Of Color Critique. 1st ed. Univ Of Minnesota Press, 2003. Gordon, Edmund T. “Cultural Politics of Black Masculinity.” Transforming Anthropology 6, no. 1–2 (January 1, 1997): 36–53. doi:10.1525/tran.1997.6.1-2.36. Gordon, Lewis. “Critical ‘Mixed Race’?” Social Identities 1, no. 2 (August 1, 1995): 381–395. doi:10.1080/13504630.1995.9959443. Gross, Kali N. Colored Amazons: Crime, Violence, and Black Women in the City of Brotherly Love, 1880-1910. Duke University Press Books, 2006. Halberstam, Judith. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. Sexual Cultures. New York University Press, 2005. HAMMONDS, EVELYNN. “Black (W)holes and the Geometry of Black Female Sexuality.” Differences 6, no. 2 (January 1, 1994): 126. Haraway, Donna J. Simians, Cyborgs, and Women: The Reinvention of Nature. First Edition. Routledge, 1990. Hartman, Saidiya. “Venus in Two Acts.” Small Axe no. 26 (June 30, 2008): 1. 30 Heap, Chad. Slumming: Sexual and Racial Encounters in American Nightlife, 1885-1940. University Of Chicago Press, 2009. Hicks, Cheryl D. Talk with You Like a Woman. The University of North Carolina Press, 2010. Hine, Darlene Clark. “Rape and the Inner Lives of Black Women in the Middle West.” Signs 14, no. 4 (July 1, 1989): 912–920. James, J. “Radicalizing Feminism.” RACE & CLASS 40, no. 4 (January 1, 1999): 15–31. Johnson, E. Patrick, and Mae G. Henderson, eds. Black Queer Studies: A Critical Anthology. Duke University Press Books, 2005. Jones, Joni, and Edmund T. Gordon. “Introductions to Performance and Visual Cultures with Professors Joni Jones & Edmund T. Gordon” (January 1, 2009). Lorde, Audre. Sister Outsider: Essays and Speeches. Crossing Press, 2012. Lorde, Audre, and Bonzani Camille. The Uses of the Erotic: The Erotic as Power. 1000 with mailing envelope. Kore Press, 2000. Marriott, David. On Black Men. 0 ed. Columbia University Press, 2000. McGuire, Danielle L. At the Dark End of the Street: Black Women, Rape, and Resistance--A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power. Reprint. Vintage, 2011. McKittrick, Katherine. Demonic Grounds: Black Women and the Cartographies of Struggle. University of Minnesota Press, 2006. McLaurin, Melton A. Celia, A Slave. University of Georgia Press, 2012. Mitchell, Michele. “Silences Broken, Silences Kept: Gender and Sexuality in African‐American History.” Gender & History 11, no. 3 (November 1, 1999): 433–444. doi:10.1111/1468- 0424.00154. Munanga, Kabengele. Rediscutindo a Mestiçagem No Brasil. Coleção Identidade Brasileira. Editora Vozes, 1999. Nascimento, Elisa Larkin. O Sortilégio Da Cor. Selo Negro Edições, 2003. ———. The Sorcery of Color: Identity, Race, and Gender in Brazil. Temple University Press, 2007. Painter, Nell Irvin. “Representing Truth: Sojourner Truth’s Knowing and Becoming Known.” The Journal of American History 81, no. 2 (September 1, 1994): 461–492. Puwar, Nirmal. Space Invaders: Race, Gender and Bodies Out of Place. 1st ed. Berg Publishers, 2004. 31 Roberts, Dorothy. Killing the Black Body: Race, Reproduction, and the Meaning of Liberty. Vintage, 1998. Rosen, Hannah. Terror in the Heart of Freedom: Citizenship, Sexual Violence, and the Meaning of Race in the Postemancipation South. The University of North Carolina Press, 2008. Sandoval, Chela. Methodology of the Oppressed. 1st ed. Univ Of Minnesota Press, 2000. Scott, Darieck. Extravagant Abjection: Blackness, Power, and Sexuality in the African American Literary Imagination. NYU Press, 2010. Sexton, Jared. Amalgamation Schemes: Antiblackness and the Critique of Multiracialism. Univ Of Minnesota Press, 2008. ———. “Race, Sexuality, and Political Struggle: Reading ‘Soul on Ice’.” Social Justice 30, no. 2 (92) (January 1, 2003): 28–41. ———. “The Consequence of Race Mixture: Racialised Barriers and the Politics of Desire.” Social Identities 9, no. 2 (June 1, 2003): 241–275. doi:10.1080/1350463032000101588. Shakur, Assata, and Angela Davis. Assata: An Autobiography. Lawrence Hill Books, 1999. Silva, Denise Ferreira da. “À Brasileira: Racialidade e a Escrita De Um Desejo Destrutivo.” Revista Estudos Feministas 14, no. 1 (April 1, 2006): 61–83. Smith, Barbara, ed. Home Girls: A Black Feminist Anthology. Rutgers University Press, 2000. Spillers, Hortense J. Black, White, and in Color: Essays on American Literature and Culture. 1st ed. University Of Chicago Press, 2003. Walcott, Rinaldo. “Reconstructing Manhood; or, The Drag of Black Masculinity.” Small Axe: A Caribbean Journal of Criticism 13, no. 1 (January 1, 2009): 75. doi:10.1215/07990537-2008-007. Wilderson, Frank B. Incognegro: a Memoir of Exile & Apartheid. South End Press, 2008. Wright, Michelle M. Becoming Black: Creating Identity in the African Diaspora. Duke University Press, 2004.

Area 3 - To Be (Seen) or Not to Be (Seen): That’s the question – The Black Body Within Black Political Culture and Aesthetics

1. “Artisticized” Black Body – Making Efforts to Play Visible Almada, Sandra. Damas Negras: : Sucesso, Lutas, Discriminação. Mauad, 1995. Barros, Orlando de. Coraçóes De Chocolat. Livre Expressáo, 2005.

32 Brooks, Daphne A. Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850- 1910. Duke University Press Books, 2006. Domingues, Petronio. “Tudo Preto: A Invencao Do Teatro Negro No Brasil.” Luso-Brazilian Review 46, no. 2 (January 1, 2009): 113. Fleetwood, Nicole R. Troubling Vision: Performance, Visuality, and Blackness. University of Chicago Press, 2011. Jones, Omi Osun Joni L., Lisa L. (Lisa Lynne) Moore, and Sharon Bridgforth. Experiments in a Jazz Aesthetic: Art, Activism, Academia, and the Austin Project. Louann Atkins Temple Women & Culture Series. University of Texas Press, 2010. Lima, Evani Tavares. Um olhar sobre o Teatro Negro do Teatro Experimental do Negro e do Bando de Teatro Olodum. Campinas, São Paulo [s.n.], 2010 Martins, Leda Maria. “A Cena Em Sombras” 267. Debates (January 1, 1995). Mello, Gustavo and Bairros, Luiza (ed). I Fórum Nacional de Performance Negra. 2005. Mello, Gustavo (ed). II Fórum Nacional de Performance Negra. 2006. ——— (ed). Olonadé - O Teatro da Comuns. 2007. ——— (ed). III Fórum Nacional de Performance Negra. 2009. ——— (ed). Olonadé - A Cena Negra Brasileira: Um Mergulho no Universo da Dança e do Teatro Brasileiro. 2007. ——— (ed). Olonadé - A Cena Negra Brasileira: Um Mergulho no Universo da Dança e do Teatro Brasileiro. 2011. Mendes, Miriam Garcia. A Personagem Negra No Teatro Brasileiro: Entre 1838 e 1888. Vol. 84. Ensaios. Editora Atica, 1982. Nascimento, Abdias do. Dramas Para Negros e Prólogo Para Brancos: Antologia De Teatro Negro-brasileiro. Edicão de Teatro Experimental de Negro, 1961. ———. “Teatro Experimental Do Negro: Trajetória e Reflexões.” Estudos Avançados 18, no. 1 (April 1, 2004): 209–224. Smith, Cherise. Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith. First Edition. Duke University Press Books, 2011. Teatro Experimental do Negro. Teatro Experimental Do Negro: Testemunhos. Edicões GRD, 1966. Ugwu, Catherine. Let’s Get It on: The Politics of Black Performance. Bay Press, 1995.

33 2. Culture of Politics – The Layers of Making Unseen Barreto, José de Jesus. Candomblé Da Bahia: Resistência e Identidade De Um Povo De Fe. Coleção Traços Do Encantamento. Solisluna Design e Editora, 2009. Carneiro, Edison. Candomblés Da Bahia. Vol. 106. Coleção Retratos Do Brasil. Civilização Brasileira, 1977. Carvalho, José Jorge de. A Tradição Musical Iorubá No Brasil: Um Cristal Que Se Oculta e Revela. Vol. 327. Série Antropologia. Departamento de Antropologia, Universidade de Brasília, 2003. Gilroy, Paul. Against Race: Imagining Political Culture Beyond the Color Line. Belknap Press of Harvard University Press, 2002. Iton, Richard. In Search of the Black Fantastic: Politics and Popular Culture in the Post-Civil Rights Era. Oxford University Press, USA, 2008. Kelley, Robin. Race Rebels. Free Press, 1996. Kelley, Robin D. G. Freedom Dreams: The Black Radical Imagination. New edition. Beacon Press, 2003. ———. Yo’ Mama’s Disfunktional: Fighting the Culture Wars in Urban America. Beacon Press, 1997. Lima, Vivaldo da Costa. A Família De Santo Nos Candomblés Jejes-nagôs Da Bahia. Corrupio, 2003. ———. “O Candomblé Da Bahia Na Década De 1930.” Estudos Avançados 18, no. 52 (December 1, 2004). doi:10.1590/S0103-40142004000300014. Martins, Leda Maria. Afrografias Da Memória. Coleção Perspectivas. Mazza Edições, 1997. Mercer, Kobena. Welcome to the Jungle: New Positions in Black Cultural Studies. Routledge, 1994. Moten, Fred. In The Break: The Aesthetics Of The Black Radical Tradition. 1st ed. Univ Of Minnesota Press, 2003. ———. “Music Against the Law of Reading the Future and ‘Rodney King’.” The Journal of the Midwest Modern Language Association 27, no. 1 (April 1, 1994): 51–64. Nascimento, Abdias do. Orixás: Os Deuses Vivos Da Africa = Orishas : the Living Gods of Africa in Brazil. IPEAFRO/Afrodiaspora, 1995. Reis, João Jose. A Morte É Uma Festa: Ritos Fúnebres De Revolta Popular No Brasil Do Século XIX. Companhia das Letras, 1991. 34 ———. Domingos Sodré, Um Sacerdote Africano: Escravidão, Liberdade e Candomblé Na Bahia Do Século XIX. Companhia das Letras, 2008. Sandoval, Chela, and Angela Y. 1944-(Angela Yvonne) Davis. Methodology of the Oppressed. Theory Out of Bounds. University of Minnesota Press, 2000. Santos, Edmar Ferreira. O Poder Dos Candomblés: Religião e Resistência Cultural. EDUFBA, 2009. Silveira, Renato da. O Candomblé Da Barroquinha: Processo De Constituição Do Primeiro Terreiro Baiano De Keto. Edições Maianga, 2006. Sodré, Muniz. A Verdade Seduzida: Por Um Conceito De Cultura No Brasil. Vol. 1. Coleção Cultura Brasileira. CODECRI, 1983. ———. Cultura Negra e Ecologia. Vol. 2. Papéis Avulsos (Universidade Federal Do Rio De Janeiro. Centro Interdisciplinar De Estudos Contemporâneos). Centro Interdisciplinar de Estudos Contemporâneos, Escola de Comunicação / Universidade Federal do Rio de Janeiro, 1989. ———. Mestre Bimba: o Corpo De Mandinga. Bahia Com H. Manati, 2002. ———. O Terreiro e a Cidade: a Forma Social Negro-brasileira. Vol. 1. Coleção Negros Em Libertação. Vozes, 1988. ———. Samba: o Dono Do Corpo: Ensaios. Vol. 1. Coleção Alternativa. Editora Codecri, 1979. Vargas, João H. Costa. “Jazz and Male Blackness: The Politics of Sociability in South Central Los Angeles.” Popular Music and Society 31, no. 1 (February 1, 2008): 37–56. doi:10.1080/03007760601062983. Yemonjá, Mãe Beata de, and Raul Giovanni da Motta Lody. Caroço De Dendê: a Sabedoria Dos Terreiros : Como Ialorixás e Babalorixás Passam Conhecimentos a Seus Filhos. Pallas, 2002.

3. The Black Body Exposed –Politics of Visibility and the Haunting Consumption Amparo-Alves, Jaime. 2009. Spectacle of Violence: Racial Imaginary and the Construction of Black Masculinity in ‘City of God’, in Text Practice Performance- The Journal of the Américo Paredes Center for Cultural Studies. Vol III, University of Texas at Austin, pp 17-30. Araujo, Joel Zito. A Negação Do Brasil: O Negro Na Telenovela Brasileira. Editora SENAC São Paulo, 2000. Araújo, Joel Zito. “O Negro Na Dramaturgia, Um Caso Exemplar Da Decadência Do Mito Da Democracia Racial Brasileira.” Revista Estudos Feministas 16, no. 3 (December 1, 2008): 979– 985. doi:10.1590/S0104-026X2008000300016. 35 Carvalho, José Jorge de. Images of the Black Man in Brazilian Popular Culture. Vol. no. 201. Série Antropologia. Departamento de Antropologia, Universidade de Brasília, 1996. ———. Metamorfoses Das Tradições Performáticas Afro-brasileiras: De Patrimônio Cultural a Indústria De Entretenimento. Vol. 354. Série Antropologia. Universidade de Brasília, Departamento de Antropologia, 2004. Carybé, 1911-1997, Jorge Amado, Pierre Verger, and Waldeloir Rego. Iconografia Dos Deuses Africanos No Candomblé Da Bahia. Raízes, 1980. Marriott, David. Haunted Life: Visual Culture and Black Modernity. New Brunswick, N.J: Rutgers University Press, 2007. Miller-Young, Mireille. “Hip-Hop Honeys and Da Hustlaz: Black Sexualities in the New Hip- Hop Pornography.” Meridians 8, no. 1 (January 1, 2008): 261–292. Piper, Adrian. “Out of Order, Out of Sight” (January 1, 1996). Ribeiro, Monique H. The White Media: Politics of Representation, Race, Gender, and Symbolic Violence in Brazilian Telenovelas. University of Texas, 2010. Rodrigues, João Carlos. O Negro Brasileiro e o Cinema. 3rd ed. Pallas, 2001. Soares, Maria Andrea Dos Santos. “Look, Blackness in Brazil!: Disrupting the Grotesquerie of Racial Representation in Brazilian Visual Culture.” Cultural Dynamics 24, no. 1 (March 1, 2012): 75–101. doi:10.1177/0921374012452812. Sodré, Muniz. A Máquina De Narciso: Televisão, Indivíduo e Poder No Brasil. Achiame, 1984. ———. Claros e Escuros: Identidade, Povo e Mídia No Brasil. Coleção Identidade Brasileira. Editora Vozes, 1999.

36 “To be [seen] or not to be [seen]? That is the Question” Presence in Black Theatrical Practice of Cia dos Comuns

Introduction This essay interrogates the political dimension of the Brazilian black theater movement’s emphasis on the onstage presence of black actors. I explore this question through an analysis of black presence in Cia dos Comuns’ production, Silêncio, which premiered in 2007 in Rio de Janeiro, Brazil. I argue that director Hilton Cobra’s decisions to not use fictional characters and not deploy realistic representations of everyday life can be interpreted as political gestures that challenge what I consider to be the most fundamental aspect of black theater: the presence of black performers on stage. Instead of assuming stable discourses regarding racism and stereotypes, Silêncio points out the challenges of black presence both offstage and onstage. In identifying the constraints imposed on the black body by “the gaze” as examples of structural, rather than situational, violence, Silêncio exposes the inherent violence against black bodies that is embedded in theatrical performance. Paraphrasing William Shakespeare’s famous line from Hamlet, “to be [seen], or not to be [seen]” becomes an existential question regarding black actors’ bodies in black theater. In using the term “presence,” I draw upon Erika Fischer-Lichte’s essay, “Fiction and Reality in Contemporary Theater” (2008). Fischer-Lichte proposes the concepts of the phenomenal body, which is the actor’s body as a particular being-in-the-world, and the semiotic body, which refers to the body of the fictional character being performed by the actor. The phenomenal body and semiotic body are in dialogic tension in the negotiation of presence before the audience. In this sense, black presence refers to the interplay of the black phenomenal and black semiotic bodies in black theatrical practice. This approach is used to illuminate the ways that black actors are dealing with the issue of presence in black theater. I argue that black theatrical practice invests in black presence – both phenomenal and semiotic – as a means of altering how the black subject is perceived both onstage and offtstage. Black existence in the world, outside of the theater, is at the center of these dynamics. It is as a result of black existence, or presence, and for the purpose of redefining that existence, that black theatrical practice in Brazil has been constantly reconfigured, despite the lack of attention or recognition on the part of governmental institutions, scholarship, and the market. For these 37 reasons, black presence is the avenue through which I decided to take my first scholarly steps into the realm of black theatrical practice in Brazil. By discussing black theatrical practice through the issue of presence, I aim to engage with and expand upon the existing theoretical apparatus related to black theater in Brazil. In line with that purpose, my focus in this essay is neither on the lack of participation of black actors in Brazilian theater, nor on racial stereotypes, nor even on the discursive significance of the representation of the black subject. Rather, I investigate the ways in which Silêncio’s particular deployment of black presence challenges the widespread emphasis on black presence as a political device in black theatrical practice. In this investigation of black presence in black theatrical practice, I will put scholarship from the fields of black studies and theater and performance studies in dialogue with each other. This synthesis of the two literatures is necessary in order to adequately analyze the existential issues facing the black subject as a particular being in the world, and how those issues affect his/her theatrical practice. In this vein, my work engages, albeit from different premises, with the concerns expressed by actress and scholar Evani Tavares Lima (2010). Lima argues that scholarship on black theatrical practice in Brazil is overly focused on sociological topics, at the expense of examining questions of aesthetics and their connections to lived experience (2010: 4). While not dismissing the sociological dimensions of black theater, Lima’s own research focuses on the connections between theater and “black existential and political-ideological issues” (2010: 16). In the light of this critique, I will engage with some of the existential questions related to black lived experience, and examine the impact they have on black theatrical practice’s deployment of black presence. From the perspective of black studies, the discussion about black presence will be framed through the works of scholars such as Frantz Fanon (2008), Lewis R. Gordon (1999), Frank B. Wilderson (2008; 2010), Sara Ahmed (2006), and Harvey Young (2010), among others. A common aspect in these authors’ work is a phenomenological method for investigating the formation of the notion of the black body, and “how the invention of race as if it were ‘in’ the bodies shapes what bodies ‘can do.’” (Ahmed 2006: 112). The second perspective that will inform my approach comes from the field of theater and performance studies. With relation to this literature, the issue of presence will be discussed taking into consideration how black corporeal presence stands before the audience’s gaze in the theater, and how black theatrical practice has identified and dealt with the representations, perceptions, and challenges that come 38 out of this encounter. In line with these bodies of scholarship, I propose an investigation of black presence that puts into question the ability of the black body to manage the meanings assigned to its physical presence on stage. The research of Miriam Garcia Mendes (1982), Erika Fischer- Lichte (2008), Leda Maria Martins (1995), Evani Tavares Lima (2010) among others, will inform the theoretical discussion of blackness and presence in theater. Finally, in this study I refer to black theater as “black theatrical practice.” The notion of practice is inspired by Saidiya Hartman’s use of the term in the book, Scenes of Subjection – Terror, Slavery, and Self-Making in Nineteenth-Century America (1997). In that work, Hartman refers to practice as the every day actions of resistance performed by slaves in the nineteenth- century United States. For Hartman, practice is characterized as “a way of thinking about the character of resistance, the precariousness of the assaults waged against domination, the fragmentary character of these efforts and the transient battles won, and the characteristics of a politics without a proper locus” (51). In this conception of practice, one particular aspect that connects with Michel de Certeau’s definition of the term is related to “the non-autonomy of its field of action” (de Certeau, apud Hartman 1997: 50). In this essay, practice will be understood as the mode of operation within a set of constraints. Black theatrical practice, therefore, is understood as being constrained by the precariousness of black presence. The expression “black theatrical practice” is here suggested as a way of combining the intent of making theater a means of political action against racial oppressions – or other oppressions motivated or aggravated by the issue of blackness, such as sexism, homophobia, and capitalism – with the the issue of presence as it concerns the black body. Practice is here understood as the particular ways that individuals operate and develop strategies within a given set of constraints, either those that are self-imposed or those imposed from without. Practice is also understood, for the purposes of this study, similarly to how violence is deployed by Frantz Fanon in The Wretched of the Earth (Fanon and Philcox 2004); it is a pedagogical process that deserves and demands bodily engagement: Violence alone, violence committed by the people, violence organized and educated by its leaders, makes it possible for the masses to understand social truths and gives the key to them. Without that struggle, without that knowledge of the practice of action, there's nothing but a fancy-dress parade and the blare of the trumpets. (147)

It is in through the multidimensional, challenging, and contradictory aspects of black presence that this study will approach the negotiation of presence in black theatrical practice. Considering 39 issues of presence onstage vis-à-vis those offstage, this work will challenge the assumption that the emphasis on presence in black theater is a way of contributing to the participation of black people in Brazilian society.

Silêncio – Expressing Silenced Shouts The fourth production created by Comuns, Silêncio premiered in 2007 in Rio de Janeiro. Hilton Cobra, director of the production, refers to Silêncio as “a piece of dance and music with theatrical insertions” (appendix B). Even though Cobra emphasizes the languages of dance and music in his description of Silêncio, the publicity for the production positioned Silêncio as a piece of theater, rather than dance. Moreover, the productions of Cia dos Comuns have always intermingled theater, dance, music and, sometimes, video. Cobra’s decision to describe Silêncio as a piece of dance indicates a desire to detach the spectacle from conventional aspects of theater, such as a plot and fictional characters. Rather than following these conventions, Comuns sought to inspire a redefinition of its artistic practice. When I first watched a performance of Silêncio in 2007 in Rio de Janeiro, the sensation I had was one of a profound discomfort. There was a sense of imposition, of verticality. There was no time to build a story, a fable, nor a metaphor. I felt forced to accept what was being stated on stage. My perception was that the expressions in Silêncio were not a matter of opinion, but a matter of fact. The exhaustion of the bodies onstage did not allow for many of the actors to act, that is, to suggest a representation. I had the impression that many of them deeply desired to act, but the movements assigned to them did not allow them to do so. At some moments their words could be understood, and at times there was only a wave of sounds that engulfed the audience, as if to draw us into the performance. Sometimes that sensation of engulfment subsided; sometimes it seemed as if it would never end. The second time I watched Silêncio was in 2010 in Dakar, Senegal, on the occasion of the III FESMAN – World Festival of Black Arts. I traveled with the group as assistant producer. My reaction was not as strong as the first time I had seen the performance. The reaction of the audience, however, was incredibly intense. One spectator commented that more works akin to Silêncio are needed in Senegal. Comuns prepared a program specially for the Dakar performance in both English (appendix E) and French. The following description of Silêncio is divided in the following way: the first subsection is focused on the description of the mis-en-scene of Silêncio. In this section I will consider a 40 video recording of a 2008 performance, the text of the spectacle, and photos. This passage will focus on how the elements of music, performance and text worked onstage. The following subsection is dedicated to the concept of the spectacle. In this part I will take into account what some of the artists involved in the spectacle say about it. The sources for this part are the “production and creation & staff sheet” (appendix A), and the following texts: 1) “Racismo: ou a infeliz nervura da realidade negra” [Racism: Or the Unhappy Vein of Black Existence] (appendix B), by Hilton Cobra, director of Cia. dos Comuns and director of Silêncio; 2) “Psiu, 2007!” (appendix C) whose authorship is not declared in the program; and 3) “A música/movimento do Silêncio,” written by Jarbas Bittencourt (appendix D), music director of Cia. dos Comuns and composer of the original soundtrack for Silêncio. These texts are part of the program that was distributed to the spectators when they arrived to the theater. Therefore, the audience had the chance to read these texts before or after the play, and this possibly influenced the ways in which they perceived or remembered their experience.

The mis-en-scene of Silêncio This section is based on a video recording of a performance in Recife, Brazil, in 2008, and the script of Silêncio, which is described as “[a] collective creation by the cast, also with some texts by Ângelo Flávio, Cidinha da Silva and Fernando Coelho Bahia and excerpts from Cruz e Souza’s poem ‘Ressureição’ (in Poesia Completa, organized by Zahidé Muzart, Fundação Catarinense du Cultura / Fundação Banco do Brasil, 1993)” (appendix E). The set, designed by the director, Hilton Cobra, is the first thing that is seen when the audience arrives. There is a rectangle of red linoleum in the center of the stage, which is itself made of light brown wood. Wires are seen across the proscenium arch, forming a kind of irregular web that will remain throughout the performance. These wires form the primary visual identity of Silêncio.

Fig. 1. Silêncio 1. Promotional poster for Silêncio. Graphic design by Bob Siqueira and Gá

The script establishes, from the beginning, where the experience enacted on stage takes place. It is stated that the performance gives expression to the unspeakable. The main question that guides Silêncio is, “Which silences are within the body of a person who, throughout his or her existence, when leaving home, thinks that at any moment he/she can be a victim of racism?” (original English, appendix E). To express that condition – rather than directly answering the question – the introduction suggests that the whole performance is focused on the moment when a person is about to open the door and go into the streets. The first lines of the play come from a woman’s voice projected through the speakers during the initial blackout:

42 Voice-over – What remains from silence is heaviness. That’s what crosses my discolored skin of hope. Silence picks me up at the doorstep, at the exit when I meet the crowd that is going to find me alone. Again, the skin, all mine, that makes me afraid. Here, deeply, without a surface in the soul, my body sees the crowds on the wrong way round. They take my hand but leave me with no destiny… (original English and ellipsis, appendix E)

Following those words, light, music, sound, and bodies fill the stage. The next lines reinforce the idea that the performance is the expression of the moment when a black body is about to enter the streets. Moreover, it is established that it intends to be the expression of a collective experience:

Ana Paula - In a paralyzed body, the mind accelerates. Centuries of scenes follow This person’s steps Everybody – Thousands, at nothing, aimlessly. Rodrigo – Thousands of black people with no pleasure Thousands of steps in the iridescent colored wave An intense and constant training Is necessary to the street’s routine Bruno – To follow this mind’s speed To keep this body standing This body… Everybody – It’s not only a body… Sarito – This person Everybody – It’s not only one Cridemar – This person brings the shouts and silences of thousands of black people. His mouth swallows and responds as many… and vomits, just that. (see appendix E) (original emphasis and ellipsis)

Throughout the 50 minutes of the performance, a collective experience is created in which layers are expressed by the performers in the form of words and movement, which are in constant interplay with the original music composed by Jarbas Bittencourt. The experiences related in the production are the common experiences of black people, and the silences that are shouted on stage belong to a certain shared experience. There are no fictional characters or reenactments of quotidian situations. Nothing is particularized. What is suggested in the performance is a condition of terror that is re-instilled every time a black person needs to expose the body to interaction with other people in the outside world. This constant

43 traumatization is due not only to the black person’s mindset, but also to everyday life situations that reinforce the black person’s otherness. The music in Silêncio is constant; there are, in the course of the performance, very few moments without music. The soundtrack is composed by different movements and moments that vary from those featuring a great intensity and variety of instruments, to others in which the music is subtle, giving priority to the actors’ voices.

Fig. 2. Silêncio 2. Cridemar Aquino, Ana Paula Black, and Rodrigo dos Santos in a scene from Silêncio. Photo by André Pinnola. The music and choreography work in synchrony. However, the soundtrack includes some moments of abrupt change. According to the composer Bittencourt’s text, this results from a composition process in which the music was written to follow the choreography, as opposed to the other way around. There is an engagement with the performance that is provoked by the real exhaustion of the bodies, right before the eyes of the audience members. As an audience member there are moments when it is almost possible to relax. However, the certainty that a new wave of multiple bodies in intense movement is about to enter the stage does not allow for an easing of the tension. The audience becomes aware that something will happen soon.

44 There are references to black Brazilian culture in Silêncio, both in the movements and in the script. References are made to West African deities such as Oya, Exu, and Oxalá. Some of these references are implicit, as when the actors talk about the “woman with a buffalo head,” which seems to be a reference to Oya. Other references to deities are explicitly made. The choreography includes movements borrowed from capoeira. Other movements might be understood as implicit references to black culture, especially religious culture, as in the moment when an actor puts his chest on the ground to talk to the deity Exu1. Near the end of the performance, such references become stronger and point to a moment of preparation for war.

Fig. 3. Silêncio 3. Cridemar Aquino, Bruno Luiz, Fabio Negrett, Ana Paula Black, and Rodrigo dos Santos perform in Silêncio. Photo by André Pinnola.

1 The act of putting one’s chest on the floor to salute a deity is also part of some African Brazilian religious traditions.

45 Towards the end of the performance, the actors articulate the inevitability of facing the world, for “there is the fear, but we walk to the far away roads. The exit is the way, the inertia doesn’t allow me to dream.”2 However, this is not the end of the performance. Another voice comes from the speakers and refers to African ancestry as the main source of resistance against racial oppression. In this passage, black skin is equated with Africa. On this skin there’s an origin flame, from my colored mother, with a profound belly, that means all the colors of a winter in this sweat desert smelling . . . The color of Africa’s placenta. That is the color of most of those without voice and face… It is the color of my mother that has given me the voice to not swallow all the silences afterwards. Even though, the fear of, between so many, being almost no one, to be considered as almost nothing. (appendix E)

Following that voice-over, the actors again perform some of the movements that were introduced at the beginning of the play, such as running and pointing fingers. This time, however, instead of saying “you are in my body,” they say “my body is inside of you.” This is said in unison, in an almost threatening way, with fingers pointed at the audience.

Silêncio – the artists’ words In this section I will comment on some of the passages of the performance that give us information about the ideas that informed the production, and how some of the artists understand their contributions to Silêncio. Each subsection in this section is named according to the title of the text from the program that it discusses.

“Racism or The Unhappy Vein of Black Existence” [“Racismo ou a Infeliz Nervura da Realidade Negra”] (appendix B) Director Hilton Cobra says that he had the idea of creating a production in which “the body screamed.” It would be a work dedicated to the body. This was the idea that eventually became Silêncio. Cobra describes how the idea of silence was approached in the development process: How would that silence be? Historical silences, individual silences, wars, terrorisms, forgotten values, the silences of peoples still oppressed, still manipulated, still subjugated. (my translation)

2 These lines are in voice-over.

46 To that notion of silence, Cobra immediately connects a notion of a shout: The silences and the shouts. How many shouts not yet shouted in the life of the common people, in the lives of so many black men and women in our world? (my translation)

Finally, Cobra joins the two ideas: Silences of pain, shouts of happiness; silences of passion, shouts of pleasure; poetic silences, sounding shouts. (my translation)

From the perspective of the entanglement of silence and shout, and considering how this would apply to the lived experience of black people, Cobra posits the following questions: How many silences had, and still have, to be silenced to make possible coexistence in a world guided by hegemony of white cultural patterns? Which silences are within the body of a person who, throughout his or her existence, when leaving home, thinks that at any moment he/she can be a victim of racism? (my translation)

Among these questions, the latter is the one that became emblematic in the description of Silêncio, having been a focus of the graphic materials used to promote the production during both its run in Brazil and in Senegal. Finally, Cobra states that the production explores the idea of multiple silences, in order to portray the concept of “muted shouts,” rather than that of an “absence of sound.” However, the name of the production remained Silêncio, in the singular. The idea of madness also informed the production. Cobra states that, “it used to be said that ‘madness is the deep disturbance of the spirit.’” While Cobra does not cite the source of this quote, it guides the production by linking the idea of “disturbance” with speculation about how a black person is affected by the constant threat of racism. Cobra mentions the documentary Estamira directed by Marcos Prado (2004), which follows the life of a woman who lives and works in a garbage dump. Even though the documentary did not influence in the making of Silêncio – Cobra says that the production was almost finished when he first viewed the documentary – one aspect grabbed Cobra’s attention: “The lucid madness of a woman in turmoil.” Through that film, Cobra deepened his conviction that the black experience is not only part of Brazilian experience, but is also the one lived by blacks in “Haiti, Angola, Burundi…” (original ellipsis).

Fig. 4. Silêncio 4. Cridemar Aquino performs in Silêncio. Photo by André Pinnola. Regarding what Cobra calls the aesthetic of Silêncio, he mentions that he wanted to make something different from what was done in the first three spectacles of Cia dos Comuns, which were directed by Marcio Meirelles. Cobra highlights two characteristics of Meirelles’s direction of the first three spectacles: live music during the performances, and strong reference to African religiosity. One aspect that Cobra highlights about his own direction in Silêncio is the deployment of a fragmentary narrative, which he justifies by virtue of the production’s setting in the universe of madness. In reference to the performance of the actors in Silêncio, Cobra states that, “despite the remarkable presence of choreography and music, I consider it a spectacle dedicated to the actor/author.” Cobra points out that the cast created “seventy percent of the text,” and that the production does not make use of characters: “Not characters. EX PE RI ÊN CI AS3 [experiences].

3 In this quotation I decided to keep the word experiências as in the original Portuguese, since Cobra decided to give a particular spacing emphasizing the syllables of the word. This is probably to resemble the paced way in which some people in Brazil talk when they want to emphasize a word or idea.

48 I am tired of talking, in theater, through others. Give me a break!” (original spacing and capitalization). Finally, the last part of this text thanks all the people that participated in the development of the production. The penultimate paragraph sends a special message to black actors: Black actors – in Comuns or related to Comuns – my range of action is still very short, but everything I will do concerning the performing arts, for the rest of my life, will be to open spaces for you, so that you do not feel hostages of [media] vehicles that atrophy the development of rich Brazilian black culture.

“Psiu, 2007!” (appendix C) There is no attribution of authorship for this text in the program. It provides insights about the black condition worldwide. For example, “White Americans still use the symbol of gallows to remind blacks about their place in the country of liberty and justice for all,” and, “Africa, cradle of humanity and barn for the experiments of huge laboratories and multi-national companies (Aids, food test, etc. etc. etc.) remains the most impoverished continent in the world.” Other statements affirm that blacks are the majority of those interned in mental health institutions, favelas [slums], and prisons. The text does not provide data or sources for these assertions.

“A música / movimento do ‘Silêncio’” [The Music / Movement of the ‘Silêncio’] (appendix D) Jarbas Bittencourt, music director in Silêncio, wrote this text, which was published in Silêncio’s program. Here, Bittencourt emphasizes the close ties between music and movement in the production. In this sense, he refers to Zebrinha, the production’s director of choreography, as a main contributor to the creation of the music. Bittencourt mentions the conversations that he had with Zebrinha and Cobra as fundamental to the process of immersing himself in his own subjectivity to encounter the madness generated by racial discrimination. Bittencourt says that the music was created after the movement. The choreographic sequences created by Zebrinha and the actors led Bittencourt to understand the quality of music that would fit the needs of the performance. According to Bittencourt, “any compositional gesture in the music of silêncio (sic) emerged from the dance and in the dance is justified.”

49 Presence in Silêncio – a Shift from Madness to Vertigo The issue of racism and how it psychologically harms black people in Brazil is not an extraordinary theme in black theater, nor in the theatrical representation of black characters. One of the best-known plays written by Abdias do Nascimento, Sortilégio: Mistério Negro (Nascimento 1961), tells the story of a black man in conflict with his African-descent cultural roots. The African-descent culture appears as a way of healing the psychological wounds of a black person who, due to internalized racism or social convenience, marries a white woman while denying his love for a black woman. Another examination of the psychological dimensions of racism can be seen in the play, Anjo Negro (Nascimento 1961), written by Nelson Rodrigues, one of the most important playwrights in Brazil. In this play, interracial marriage is the background for the exploration of racial dimensions of personal and social relationships in Brazil. In Silêncio, the madness resulting from racism is the main theme of the play. The spectacle emphasizes the madness that affects black people due to their awareness of the imminence of being victimized by racism. Interestingly, the issue of racism is not dramatically represented in the production. That is, there is not a narrative that establishes a particular situation in which the audience witnesses an act of racism against a black person. What is expressed throughout the performance corresponds to the very moment when a black person reaches the doorstep in order to enter the daily world. In this sense, the madness in Silêncio is not an individual matter. What is portrayed instead is related to the participation of a black person in the public sphere. That is, it is in a black person’s relationship with the world, or in the expectation of the actualization of such a relationship, that the so-called madness expressed in Silêncio takes place. Even though an approach that considers the intersection between psychoanalysis and race would be pertinent, it would fail in helping us to approach black theater as practice, that is, it would fail in helping us to problematize the very moment of the performance. My interest here is not to merely expose the pertinence of the themes addressed in Silêncio, but to entangle those themes with the performance in itself and, as a consequence, with black theatrical practice. For this reason, I want to focus on another issue addressed by the spectacle: the phenomenon of the black body’s existence in the outside world is what provokes the manifestation of madness in black people. In the aforementioned text, Racismo ou a infeliz nervura da realidade negra [Racism or the Unhappy Vein of Black Existence] (appendix B), whose title is in itself indicative

50 of the role played by race in defining the existence of a black person in the world, it is suggested that the issue of race or, more specifically, blackness is a structuring aspect of the Western world. In this sense, I propose that here we exchange what in Silêncio is called “madness” to the concept of “vertigo,” as defined by Frank B Wilderson in the “The Vengeance of Vertigo” (2011). Wilderson uses the term vertigo to refer to a sense of disorientation that can take on two forms: subjective vertigo and objective vertigo: Subjective vertigo is vertigo of the event. But the sensation that one is not simply spinning in an otherwise stable environment, that one’s environment is perpetually unhinged stems from a relationship to violence that cannot be analogized. This is called objective vertigo, a life constituted by disorientation rather than a life interrupted by disorientation. This is structural as opposed to performative violence. Black subjectivity is a crossroads where vertigoes meet, the intersection of performative and structural violence. (2011: 3)

Silêncio expresses black people’s vertigo, which is the disorientation caused by contact with the outside world, the public world, and society. This disorientation structures not only society, but also the ways in which a black person is expected and supposed to behave in the world. This is what is suggested when the actors refer to the constant training to which they are subjected when preparing to enter the outside world. This dynamic is represented in the performance when some actors, one at a time, detach from the group, perform movements that resemble martial arts, and then reintegrate into the ensemble. There is a way of behaving in the world that depends on the ability of those bodies to silence their own issues. Silêncio makes clear that black people’s experience of race can cause vertigo. In the play, it is the perception of the gaze imposed over the body that causes the vertigo. Because of a black person’s appearance, the very expectation of being seen, the certainty of how the body will be seen, and the probability of being victimized by racism are the main causes of vertigo. The challenges of being present in the world are, to a certain extent, analogous to the challenges of being present on stage. Since theater is a spectacular art, that is, an art made to be seen, to be onstage is to be subjected to the gaze that violently determines black bodies’ existence in world. If this is the case, black theatrical practice induces an engagement with the violent aspects of black life in an anti-black world.

Black Theatrical Practice in Brazil: Black Presence as Political Device Black presence is one of the main elements in black theatrical practice. It is through the 51 perception of the ways in which black presence is deployed onstage, as a mirror of how black life is experienced offstage, that black theatrical practice was conceived as a political project to challenge structures of domination and oppression against black people (Nascimento 2004). As a result of a belief in the discursive power of theatrical practice (Martins 1995; Bastide, Queiroz, e Fernandes 1983), black theater is interested in two aspects of black presence. On the one hand, it demands an increase in black actors’ presence on stage. On the other hand, it advocates for the creation of a dramaturgy in which black characters represent the diverse experience of black Brazilians. The focus of black theater on black presence is a critique of dominant narratives. Miriam Garcia Mendes, in her book A Personagem Negra no Teatro Brasileiro (Mendes, 1982), points out that Brazilian theatrical practice in the eighteenth century was mainly performed by blacks4 who painted their faces with white and red make-up (Mendes, 1982: 3). The transference of the Portuguese Crown to Brazil in 1808 is the probable cause of the subsequent shift in the ways blacks were presented and represented in theatrical practice in the middle of the nineteenth century. The dramaturgy of the second half of the nineteenth century reflected the concerns of white society regarding the “pernicious” proximity of the slaves. The black body was, then, the contradistinction to the moral superiority of Brazilian white society (Mendes, 1982: 23). After the abolition of slavery in 1888, this situation did not qualitatively change. Evani Tavares Lima, in her PhD dissertation Um olhar sobre o Teatro Negro do Teatro Experimental do Negro e do Bando de Teatro Olodum (2010), discusses the persistence of racial stereotypes, which continued to be reenacted on stage in the form of types such as the malandro and the mulata boazuda. These categories draw upon stereotypes of inherent laziness and hypersexuality, respectively, which have long haunted the representations of black people in Brazil. Through these historical accounts, it becomes evident that Brazilian theater mirrored the relations of power that subjugated black people in society. Brazil’s social and racial hierarchy found in the theater a venue to symbolically exercise onstage what was to be materially enforced offstage. In A Cena em Sombras, Leda Maria Martins makes a similar point about the use of language: As an object of a collective enunciation that silences his voice and castrates the indications of his alterity, the black subject becomes an effect of language upon

4 In the original, Mendes uses the term mulatos.

52 which an efficient power of discrimination and elision is exercised. In the discourse of power that engenders the discourses of knowledge, the black subject is spoken as a reverse, whose contours and movements are demarcated by the language. (Martins 1995: 39; my translation)5

Such deployment of black presence, either through the representation of the black person with stereotypical characters, or black actors’ material presence or absence onstage, was explicitly challenged in the 1940s. The realization of how blacks were excluded or misrepresented in Brazilian theater was highlighted by an experience lived by Nascimento in Lima, Peru, in 1941. The fact that a white actor in blackface was performing the main character in Eugene O’Neill’s play, The Emperor Jones, caused Nascimento to think of how racial hierarchy affected Brazilian theater: [I]n my homeland, so proud of having exemplarily solved the coexistence of blacks and whites, the presence of blacks on the scene should be normal, not only in secondary or grotesque roles, as usually happened, but also incarnating any other character – Hamlet or Antigone – since [such black actor] possessed the adequate talent. Indeed, the inverse occurred: even Emperor Jones, if produced on Brazilian stages, would be necessarily performed by a blackwashed white actor, just like always happened in the performances of [Shakespeare’s] Othello6. (2004: 209; my translation and emphasis)

There is a demand in black theatrical practice that is not only related to the representation of the black subject. If this were the major issue, the fact of having white actors darkening their faces to perform black characters would not necessarily be problematic, since those characters would not be offensive to black subjects. On one hand, it is the actual black bodily presence, along with how that black bodily presence occurs, that informs the creation of a black theatrical practice in Brazil. On the other hand, the belief that theatrical practice has the power to influence the representations of the black subject in Brazilian society writ large has also motivated the embrace of theater as a means of fighting racism.

5 “Enquanto objeto de uma enunciação coletiva, que silencia sua voz e castra os índices de sua alteridade, o negro torna-se um efeito de linguagem sobre o qual se exerce um poder eficiente de discriminação e elisão. No discurso do poder, que engendra o discurso dos saberes, fala-se o negro como um avesso, cujos contornos e movimento a linguagem demarca.” (Martins 1995: 39)

6 “[N]a minha pátria, tão orgulhosa de haver resolvido exemplarmente a convivência entre pretos e brancos, deveria ser normal a presença do negro em cena, não só em papéis secundários e grotescos, conforme acontecia, mas encarnando qualquer personagem – Hamlet ou Antígona – desde que possuísse o talento requerido. Ocorria de fato o inverso: até mesmo um Imperador Jones, se levado aos palcos brasileiros, teria necessariamente o desempenho de um ator branco caiado de preto, a exemplo do que sucedia desde sempre com as encenações de Otelo.” (Nascimento 2004: 209)

53 This realization led journalist Abdias do Nascimento to create the Teatro Experimental do Negro (TEN) in 1944. In the essay “Teatro Experimental do Negro: Trajetória e Reflexões,” published in 2004, Nascimento explains his purpose in the creation of TEN, emphasizing the role of theater as “mirror and synthesis of existential human adventure.” In this sense, TEN advocated for a theater that was a space for debate and action regarding the structures of “racial domination, oppression, and exploration” ingrained in “Brazilian dominant society.” TEN wanted to be “[a] theater that was able to help build a better Brazil, effectively just and democratic, where all races and cultures were respected in spite of their differences, and were equal in rights and opportunities” (Nascimento 2004: 221, my translation). TEN was therefore conceptualized as a political tool that intended, through activities related to theater, to impact the ways in which the black subject would be perceived both onstage and offstage. One of the reasons that Nascimento chose theater as the vehicle for his political project is expressed in the following statement: TEN was invested in fighting against racism that is ostensibly revealed – more than in any other aspect of Brazilian life – in theater, television, and in the educational system, real bastions of racial discrimination in Brazilian fashion. (2004: 221; my translation)7

In order to reach its goal, TEN developed activities both offstage and onstage. The offstage activities included conferences, seminars, periodicals, and beauty contests. In its onstage activities, TEN invested in the creation of a dramaturgy that increased the representation of black characters and the participation of black actors in theatrical practice. As stated by Nascimento, since theater was a “synthesis of human adventure,” a Brazilian theater should reflect the Brazilian experience and, as such, it should include the richness of black culture and experience. According to Martins, TEN was successful in conquering social and political space for black theatrical pracitce: Within the time period that marks its effective participation in the Brazilian theatrical scene, TEN was able... to build an alternative dramatic language through which its blackness was erected as a figurative trope that was relevant and distinct in its visibility. (1995: 80-81; my translation)8

7 “[O] TEN propunha-se a combater o racismo, que em nenhum outro aspecto da vida brasileira revela tão ostensivamente sua impostura como no teatro, na televisão e no sistema educativo, verdadeiros bastiões da discriminação racial à moda brasileira.” (Nascimento 2004: 221)

8 “No intervalo que marcou sua participação efetiva na cena teatral brasileira, o TEN conseguiu . . . construir uma linguagem dramática alternativa, através da qual a sua negrura se erigia como um tropo figurativo relevante e distintivo em sua visibilidade.” (Martins 1995: 80-81) 54

However, notwithstanding the impact TEN had in reshaping the representation of the black subject on stage, there continued to be notable difficulties in substantially altering how black actors’ bodies were perceived. Several examples must be taken into consideration in order to understand if that representational effort has been successful in dismantling the ontological representation assigned to the black phenomenal body. In several cases, the existence of a black character is admitted, whereas the presence of the black bodily presence is not. If, on one hand, the investment in black presence intended the appropriation of the means of the production of discourses, on the other hand the black phenomenal body remained a site of anxiety9 that challenged its capability of being accepted on stage or being able to produce representations others than those already assigned to the black body. In the play, Anjo Negro, written by journalist and playwright Nelson Rodrigues and premiered in 1946 in Rio de Janeiro, government authorities required that a white actor performed the black character Ismael. Even though it was common that white actors performed black or non-white characters in Brazilian theater at that time, it is remarkable that such a trend seemed to remain unaltered even during the height of TEN’s prominence. At the time of the premiere of Anjo Negro, black actor Aguinaldo Camargo had already successfully performed important roles, such as the main character in The Emperor Jones in 1945. However, according to Nascimento, the government authorities “[f]eared, naturally, that after the performance offstaged and in the company of other blacks, Ismael went through the streets hunting white women to violate” (2004: 217) 10. Nascimento’s supposition about the censors’ fear that the play could stimulate blacks to look for “white women to violate” ignores two important issues. One is that the Municipal Theater of Rio de Janeiro was, especially in the 1940s, an elitist theater that was not frequented by blacks. Thus, it is hard to imagine that a considerable number of blacks would watch the play and have their behavior influenced by the performance. Second, the black character that has a struggling relationship with a white woman was not censored out of the play. In other words, a

9 Fanon states that, “[t]he black man is a ‘phobogenic’ object, provoking anxiety.” (Fanon 2008: 129)

10 “[t]emiam, naturalmente, que depois do espetáculo o Ismael, fora do palco e na companhia de outros negros, saísse pelas ruas caçando brancas para violar...” (Nascimento 2004: 217) 55 semiotic black body – the character Ismael – was allowed to exist, whereas a phenomenal black body – the actor Aguinaldo Camargo – was not. Currently, the relationship between semiotic and phenomenal bodies continues to present challenges regarding black presence in the performing arts. In the video documentary, Negros em Movimento, directed by filmmaker Patricia Freitas (2004), black actor Lazaro Ramos describes the difficulties faced by the actors of Bando de Teatro Olodum11 in making the audience perceive the distinction between semiotic and phenomenal bodies in the group’s first plays. According to Ramos, for most of the audience the fictional characters of the prostitutes and thieves presented in the performances coincided with the actual performers. That is, semiotic and phenomenal bodies collapsed into one. As far as most audience members were concerned, those actors were the prostitutes, thieves, mothers, and guards who were performing their own real stories on stage. Only after achieving certain recognition and fame the group had the chance to disseminate the information that the actors were distinct from the characters they performed. In 2001, when Cia. dos Comuns was founded, a similar process occurred. A large part of the audience believed that the characters represented onstage were the representation of the actors’ personal stories, as opposed to fictional stories that reflected reality. It also took some time until the public – at least the usual audience of the group – realized that there was a distinction between the actors’ phenomenal and semiotic bodies in the productions of Comuns. However, the tendency to see black bodies in performing arts as the fusion of phenomenal and semiotic bodies is not restricted to theater. At times, such confusion is reinforced and marketed. In movies such as Cidade de Deus [City of God]12, in which there is a considerable presence of black actors, a significant part of the publicity carried out by the film’s producers stated that “non-actors” composed most of the cast.13 The same was experienced recently, in 2012, with a TV series named Suburbia. In such cases, what we generally see is that mostly non-

11 Bando de Teatro Olodum, founded in 1997, is one of the most expressive black theater groups currently in activity in Brazil.

12 See: http://www.meucinemabrasileiro.com/filmes/cidade-de-deus/cidade-de-deus.asp, acessed in May 3, 2013 at 9:52 am

13 See: http://novo.vivafavela.com.br/publique/cgi/cgilua.exe/sys/start.htm?from_info_index=1681&sid=87&infoid=21156, assessed in May 3 2013, at 9:51 am

56 black actors are in the situation of being the characters, while most black actors are conditioned to be the characters they perform. Returning now the analysis of Silêncio, it is noteworthy that Cia dos Comuns gives up of the semiotic body, or interacts with it in a very conflictive way. This is not to say that representations are absolutely absent from the spectacle, but the very intent, and persistence, of putting representations aside is politically meaningful and aesthetically relevant. Silêncio suggests the depletion of the use of representation in theater, by which I mean the diminishing interest in counter-narratives intended to enable black subjectivity or humanity. Silêncio indicates a black theatrical practice focused on challenges of presence regarding the black phenomenal body.

On the Black body By focusing on the challenges posited on the black phenomenal body in the real world, and giving up the construction of fictional characters to express or represent such situations, Silêncio puts black theatrical practice in an uncomfortable edge: on the one side, Silêncio points to the condition of the phenomenal body in the real world as being violently shaped from without. On the other hand, by focusing on the black phenomenal body onstage, Silêncio exposes black theatrical practice as the re-instilment of the primary violence that overdetermines the black body. In this sense, black theater’s investment in black presence reenacts the primary violence constitutive of the black body: the exposition of the black body to the external gaze. In order to begin a discussion about the peculiarity of the black body, it is helpful to take into account an existentialist phenomenological perspective about the body and how it relates more specifically to the black body, so that we can better understand the political dimensions of the black body in Silêncio. The formation of the black body that will be taken into consideration in this section is certainly constrained to the purposes of this essay. In other words, my purpose here is to understand the ways in which Cia. dos Comuns dealt with the issue of presence onstage, and how it reveals contradictory aspects regarding the use of black presence as a political practice in black theater. That said, let us also keep in mind some other reasons for choosing an existentialist phenomenological approach. First, it is imperative to remember Lewis Gordon’s assertion, in the introduction to Existentia in Africana, that philosophies of existence are not the privileged domain of European writers (2000). Thus, phenomenology and existentialism will here be used as it has been developed in Black studies: in consideration of philosophical questions regarding existence, 57 especially from the perspective of black presence. Second, it is necessary to consider that such an approach might help us to expand the ideas that are introduced in Silêncio, even though some of these concepts may not have been completely developed in the production itself. Silêncio points to the psychological dimensions that are provoked by the transit of the black body in the “real world” and, as such, points to existential issues. In this sense, a phenomenological existentialist approach helps us to identify the role of otherness played by the black body in the real world, and how this structures the world as we know it. Third, since the phenomenal body that is being discussed in Silêncio is not only the one that is living in the real world, but also the performer’s body, which is in that very moment of the performance, being exposed on stage, it is important that we think of that body as dealing with its own phenomenal presence. This demands that we consider that the black body’s existence both on and offstage comes into play during the performance. That said, the black body is here considered through an existentialist-phenomenological approach, as proposed by Lewis R. Gordon in Bad Faith and Antiblack Racism (1999). According to Gordon, in an existentialist-phenomenological perspectice there is no separation between body and mind. The body is consciousness in a given context or situation. Thus, in order to better understand its configuration, the body is considered to be formed by three ontological dimensions: first, the body is aware of itself as distinct from other bodies and/or objects and things; second, the body is seen – that is, that body is always existing in a context that is determined from without; and third, the body is aware that it is seen by others and apprehended by other perspectives (Gordon 1999). What happens in the case of the black body is that it is aware of itself as consciousness, but it is also aware that it is seen by others as black. This would not be a problem if blackness were not defined as oppositeness, as full otherness. However, because blackness is represented as ugliness, darkness, otherness, non-humanity, and evil, the black body, by being associated with that representation, is treated according to that representation. Aware that it is being seen according to that representation, the black body begins to behave not necessarily according to that representation, but always in relation to it. Even though we should always bear in mind the arbitrariness of this process of racialization that underlies what we call anti-black racism, the importance of the phenotype

58 should not be overlooked in this process14. In this sense, white-black polarity defines a scale of value that determines who deserves better and who deserves worse, in correlation with proximity to one of the poles. When we talk about gaze, even though it is not limited to our understanding of apprehension through the visual field, it is necessary to consider that vision does play a significant role to the formation of gaze. This means that the exterior gaze over the black body has the power to determine how that body is seen and how it must behave. In this process of racialization, the gaze that determines consequently expects15. That is, there is an expectation that the black body behaves in ways that correspond with a given representation of blackness. This understanding is important in exposing that there is an almost “material” existence of the gaze. What I am arguing here is not something that depends on the mindset of a certain number of non-black people that decide to have a different relationship with blackness. In the same way, it is not to be expected that inner work by black people will be enough to displace the power of the gaze. The gaze imposes a way of behaving on black bodies and expects those black bodies to perform accordingly. On the other hand, it is necessary to take into consideration that this role of contradistinction that is assigned to blackness and, by consequence, to black bodies, has the function of building whiteness and the values that are assigned to it, such as humanity, rationality, individuality, universality, transcendence, and presence. By assigning proper behavior to the black body and expecting that the black body behave accordingly, the gaze assures that the racial status quo is maintained. In light of this analysis, the proper defense of values such as humanity, rationality, individuality, universality, transcendence, and presence – values upon which a significant part of black theater is built – should also be questioned. The examples mentioned in the last section, which were related to the difficult relationship between the black phenomenal body and the black semiotic body, point to the challenges imposed upon the black body. In those cases the black phenomenal body is not able to dialogically exist with a semiotic body. The black body becomes the situation and the context. As

14 Nicole Fleetwood (2011) also has an important work in which she considers the importance of racial phenotype especially regarding performing arts.

15 The role of expectation in defining black experience is addressed by Harvey Young in Embodying Black Experience: Stillness, Critical Memory, and the Black Body (2010).

59 stated by Harvey in Embodying Black Experience: Stillness, Critical Memory, and the Black Body (2010) when he describes a situation of offense addressed to him by an anonymous driver, The epithet, asserting an adjectival influence that locates within the seen (body) an aspect that is largely imagined, brings together the physical black body and the conceptual black body. It blurs them. (2010: 7)

This is why the black body on stage becomes a black presence, which is the invitation of absence, a threat to the presence of the spectator16. Such threat can only be calmed by the means of giving sense to the black presence. One way of giving sense to it is the stereotypes, and the other is the erasure of the phenomenal body by the prohibition of the participation of a black actor, as was the case in the spectacle Anjo Negro. This process is part of the mechanisms of maintenance of a standardized antiblack perspective. Such perspective corresponds to a structural violence inflicted over the black body that overdetermines its blackness and turns it into a situation of blackness. In this sense, a black body is aware of him/herself17 in relation to whiteness. As stated by Fanon, “[f]or not only must the black man be black; he must be black in relation to the white man”18 (2008: 82-83). The example of Fanon of the white boy in the company of a white mother that states “Look! A Negro!” (2008: 89) represents a moment of birth of Fanon’s body as black. The gaze operates in an anti-black mode, but not necessarily through the means of white persons. Here it is important to emphasize that, even though the gaze is commonly associated to whiteness and, as such, it is considered a white gaze, it operates through the means of anyone’s action. What matters is not who operates, but against whom such gaze is directed. In this case, the gaze is an anti-black one. Indeed, to refer to an anti-black gaze sounds redundant. I argue that the gaze is always anti-black. When blacks are educated by parents or other relatives in the strategies for survival that are intended to avoid, or at least delay, the moment of performative anti-black violence – through a police beating or search, or even the bullet from a neighborhood resident that feels threatened for a black person’s approximation – it is exactly the imposition of the gaze that is already being imposed and is shaping black existence. Most of the time, however, the

16 This argument is also developed based on the dicusssion presence / absence developed by Gordon (1999) and Wilderson (2008).

17 Yet, the forced epidermalization is also a forced conscientization.

18 In this essay I did not consider race in relation to gender. This option was made because, in my understanding, the issue of race in Silêncio becomes an overtly aspect that affects black men and women in very similar ways.

60 underlying reason for developing survival strategies – the reality of being seen and overdetermined as blacks – is not part of the conversation. Survival then becomes a natural way of life, since life is structurally life threatening to black people. In theater, the role of gaze should not be dismissed, and in the case of black theatrical practice it is usually emphasized. Black theater, as a political project, requires the exposition of black bodies to be seen. It was due to the perception of the ways that black bodies were displayed on stage – both phenomenally as well as symbolically – that the notion of black theater, as a practice with political intents, was created. Through the manipulation of black presence on stage, black theatrical practice primarily works to purse its goal of improving the perception and inclusion of black people in Brazilian society. However, if the gaze reinscribes violence against black bodies, black theatrical practice is inherently founded on anti-black violence.

Conclusion In this essay I approached black theater’s investment in black presence. By black presence I mean the interplay between black phenomenal body and the fictional character’s body. By focusing on the lack of fictional characters in the spectacle Silêncio performed by Cia dos Comuns, I put into question the investment in the construction of characters to redress the ways in which the black body is perceived both on stage and off stage. By focusing on the discussion proposed by Cia. dos Comuns in Silêncio, in which the exposition of the black body to the external gaze in the real world generates a state of madness / vertigo in the black person, I suggest that black theater’s investment in black presence requires that black bodies be subjected to the analogous foundational violence that erases their existence as subjects in the real world. In this sense, I argue that Silêncio indicates that black theatrical practice reenacts a foundational antiblack violence. This is not to posit a critique about the existence of black theatrical practice. Indeed, the use of the term practice is suggested to emphasize the ways in which black artists are pointing, in their practice, to new paths. In this sense, it is the focus in the practice that is also indicating that some twists might be desirable in the investment in black presence as a political device. If on the one hand the investment in presence has indicated the attempt for a path of social inclusion, the disregard of representation and the focus on the phenomenal body are presenting a challenge that requires new, exclusive paths. Perhaps such paths might have to do with the embracement of

61 exclusion as a way of questioning the mechanisms that guarantee the apparent stability of being included. Thus, by stating that antiblack violence is a fundamental ingredient of black theatrical practice, I advocate for the embracement of certain dimensions of such violence, rather than for its denial. The engagement and examination of black theatrical practice through the issue of presence might indicate some political steps that would possibly demand more radical aesthetics, situations, and performances, which might suit in theatrical practice or might suggest the engagement in other forms of artistic performance.

References Ahmed, Sara. 2006. Queer Phenomenology: Orientantions, Objects, Others. Duke University Press. De Certeau, Michel. 2011. The Practice of Everyday Life. 3rd ed. Berkerley: University of California Press. Fanon, Frantz, e Richard Philcox. 2004. The wretched of the earth. Distributed by Publishers Group West. Fanon, Frantz. 2008. Black Skin, White Masks. Distributed by Publishers Group West. Fischer-Lichte, Erika. 2008. “Reality and Fiction in Contemporary Theatre.” Theatre Research International 33 (1) (March 1): 84–96. doi:10.1017/S0307883307003410. Fleetwood, Nicole R. 2011. Troubling Vision: Performance, Visuality, and Blackness. University Of Chicago Press. Freitas, Patrícia. 2004. Negros em Movimento. Grifo (documentary). Gordon, Lewis R. 2000. Existentia Africana: Understanding Africana Existential Thought. Routledge. Gordon, Lewis R. 1999. Bad Faith and Antiblack Racism. Humanity Books. Hartman, Saidiya V. 1997. Scenes of Subjection: Terror, Slavery, and Self-making in Nineteenth- century America. Race and American Culture. Oxford University Press. Lund, Katia and Meirelles, Fernando. 2002. Cidade de Deus. Written by Lins, Paulo and Mantovani, Bráulio (movie). Martins, Leda Maria. 1995. “A Cena Em Sombras” 267. Debates (January 1). Nascimento, Abdias do. “Teatro Experimental Do Negro: Trajetória e Reflexões.” Estudos Avançados 18, no. 1 (April 1, 2004): 209–224. Nascimento, Abdias do. 1961. Dramas Para Negros e Prólogo Para Brancos: Antologia de Teatro Negro-brasileiro. Edicão de Teatro Experimental de Negro. Prado, Marcos. 2004. Estamira (documentary). Wilderson, Frank B. 2010. Red, White & Black: Cinema and the Structure of US Antagonisms. Duke University Press. Young, Harvey. 2010. Embodying Black Experience: Stillness, Critical Memory, and the Black Body. University of Michigan Press. http://novo.vivafavela.com.br/publique/cgi/cgilua.exe/sys/start.htm?from_info_index=1681&sid= 87&infoid=21156, assessed in May 3 2013, at 9:51 am http://novo.vivafavela.com.br/publique/cgi/cgilua.exe/sys/start.htm?from_info_index=1681&sid= 87&infoid=21156, assessed in May 3 2013, at 9:51 am 62 Appendix A

Silêncio. Production and Creation & Staff Sheet

Texto Coreografia Cenário Criação coletiva - Elenco, Ângelo Flávio, Zebrinha Hilton Cobra Cidinha da Silva e Fernando Coelho Bahia Assistente de coreografia e preparação Cenotécnico: Fátima de Souza e Jorge Krugler e fragmentos do poema “Ressurreição”, de corporal: Denis Gonçalves Cruz e Sousa, extraído do livro Poesia Preparação corporal: Felipe Koury Projeto gráfico Completa, organizado por Zahidé Muzart, Bob Siqueira e Gá Direção musical (Fundação Catarinense de Cultura / Jarbas Bittencourt Fundação Banco do Brasil, 1993) Assessoria de Imprensa Música: Jarbas Bittencourt Target Assessoria de Comunicação Design de som: Filipe Pires Assessora de Imprensa: Márcia Vilella Elenco Preparação de Dicção: João Lopes Assistentes: Adriana Sá e Marcela Prior Anna Paula Black Operador de som: Filipe Pires Fotógrafo: André Pinnola Bruno Gomes Cridemar Aquino Desenho de luz Pesquisa Débora Almeida Jorginho de Carvalho e Marcos Paulo Siqueira Cia dos Comuns e Mariza Guimarães Fábio Negret Assistentes: Valmir Ferreira e Daniel Galvan Gabi Luiz Auxiliar: Andrea Ribeiro Revisão de textos CIA DOS Montagem de luz: Pedro F. Christo, Rodrigo dos Santos Nazaré Lima Neck Vilanova, Cristiano Cássio, Sarito Rodrigues Alex Perreira e Brisa Lima. Valéria Monã Produção e Administração Operador de luz: MP Siqueira Ficha Técnica Rocha Produções Artísticas Direção de Produção/Administração: Tânia Rocha CMO UNS Figurino Produção Executiva: Janaina Waldeck e Elaine Dual Encenação Biza Vianna Assessoria financeira: Solange Faria Hilton Cobra Assistente de figurino: Junior Santana Assistente de Produção: Vinicius Fonseca e Diretores assistentes: Costureira: Lucia Lima Fernando Barcelos Ângelo Flávio e Felipe Koury Camareira: Lu Freitas Assistente de Administração: Vinicius Fonseca

Realização Cia dos Comuns Direção da Cia dos Comuns: Hilton Cobra

63 Appendix B Silêncio. "Racismo ou a infeliz nervura da realidade negra"

Antes de falar sobre o desafio de dar voz ao indizível, brancos? Qual o silêncio contido no corpo de uma pessoa A estética Afortunado, sou. Poucos são os artistas que iniciaram sua preciso compartilhar o nascimento desta inquietação. que, durante toda a sua existência, ao sair de sua casa, Tive medos, muitos medos, incertezas e angústias, durante os primeiros dias do trajetória na direção cênica acompanhados por uma Durante as apresentações de “Candaces A reconstrução pensa que a qualquer momento poderá ser vítima do processo. E tinha muitos motivos para tê-los. Primeira direção, preocupação de equipe tão experiente, competente e generosa. Por isso do fogo”, em 2003, enquanto aguardava para tocar meu racismo? Daqui é que começo o concreto desafio de dar não repetir a estrutura dos três espetáculos anteriores - encenados pelo meu é que eu “saía de casa” estimulado para criar, porque instrumento, o surdo, percebi em minha mudez voz ao que está calado em nossa alma e escondido em amigo e irmão Márcio Meirelles (A roda do mundo, Candaces A reconstrução do amparado me sentia pela experiência corporal e a força observatória, os gritos insilenciáveis dos movimentos nossos poros. fogo e Bakulo Os bem lembrados), espetáculos que continham elementos fortes, de Zebrinha, a genialidade musical cênica de Jarbas, a coreográficos dos artistas. Achei bonito, curioso, como música ao vivo, inspiração marcante na religiosidade de matriz africana -, generosidade de Biza, que bom que sou amigo de instigante, desafiador. A partir dali, comecei a dar atenção No levante das nossas pesquisas, chegamos à conclusão quem sabe estaríamos iniciando uma nova trilogia... Algumas certezas: não atuar Jorginho, a luz, a integração de Bob e Gá na identidade às minhas intuições. Como fazer um espetáculo sem de que não há silêncio, mas silêncios, pois o primeiro nos como ator, continuar na dramaturgia negra e, mais importante: o espetáculo não visual, o controle de Tânia Rocha na produção e música, sem texto, sem dança? Passei, então, a namorar a remete à idéia da ausência eufemista de som, enquanto seria efetivado sobre a égide de uma estrutura linear. Não poderia transitar no administração, o mago do som, Felipe Pires, a boca no idéia de montar um espetáculo coreográfico, onde o que o segundo nos remete à possibilidade aproximada de universo da loucura sem a regência de uma estrutura fragmentária, a exemplo da mundo de Márcia Vilella, enfim, toda a equipe - Ângelo, Racismo corpo gritasse. Nenhum movimento me passava um universo de gritos emudecidos, calados e indizíveis nossa mente inconsciente, que guarda os mais inconfessos silêncios. Cidinha, Fernando Coelho, Ana Paula, Bruno, Cridemar, despercebido, nem o dos homens nem o dos ventos. para a compreensão humana. Débora, Negret, Gabi, Rodrigo, Sarito, Valéria, Felipe, ou a Comentei com o Zebrinha da minha vontade de realizar Ao mesmo tempo, essa fragmentação não poderia prejudicar a linguagem, nem Denis, João Lopes, Marquinho, Valmir, Daniel, Pedro, esse projeto, e que ele fosse dedicado ao corpo. Foi A loucura - A bomba humana impedir a reflexão por parte do espectador. Para complicar, o espetáculo seria Andrea, Neck, Cristiano, Alex, Brisa, Junior, Lucia, Lu, infeliz desse grito que surgiu o “Silêncio”. A loucura - ou as formas de loucura - estimulada pelo contado muito mais com o corpo e com os sons do que com a palavra. Aproximei- Fátima, Jorge, Adriana, Marcela, Nazaré, Janaina, Solange racismo, deveria fazer parte desse “delírio”. Antigamente me do surrealismo e me senti confortável. Eu sempre quis fazer um teatro que e Vinícius. nervura O silêncio dizia-se que a loucura é a “profunda perturbação do realmente fizesse a diferença. Como no movimento surrealista, eu também quero Como seria esse silêncio? Silêncios históricos, silêncios espírito”. Já que nossas inquietações também são antigas, participar, de forma efetiva, na “resolução de todos os problemas principais da Atores negros - da Comuns ou ligados à Comuns -, meu da individuais, guerras, terrorismos, valores esquecidos, os voltemos, pois a indagar: Como reage o espírito de uma vida”, em particular das vidas dos negros e das negras. Enfim, nessa primeira raio de ação ainda é muito pequeno, mas tudo o que silêncios dos povos ainda oprimidos, ainda manipulados, pessoa, obviamente negra, que durante toda a sua direção, assumi o risco de colocar em cena um espetáculo indizível, com uma farei no âmbito das artes cênicas, durante o resto da realidade ainda subjugados. Os silêncios e os gritos. Quantos gritos existência, ao sair de sua casa, pensa que a qualquer linguagem inspirada no surrealismo, que se traduzisse em uma peça de dança e minha vida, será para abrir espaços para que vocês não negra ainda não gritados, na vida de uma gente comum, na vida momento poderá ser vitima do racismo? Quão profunda música com interseções teatrais. se sintam reféns de veículos que atrofiam o de tantos homens e mulheres negras do nosso mundo? é a perturbação desse espírito? Recentemente, já com o desenvolvimento da rica cultura negra brasileira. Silêncios de dor, gritos de felicidade; silêncios de paixão, espetáculo praticamente pronto, tive a oportunidade de A performance - Um soco no estômago gritos de prazer; silêncios poéticos, gritos sonoros... assistir “Estamira, documentário” de Marcos Prado. Embora as causas que levariam as experiências/personagens às manifestações de Meu especial carinho e agradecimento aos assistentes, Quantos sons novos e milenares poderão ser construídos Embora não aborde a questão racial, ela está presente loucura fossem para nós uma espécie de “nervura do real”, fiquei atento para que Ângelo Flávio e Felipe Koury (Direção), Denis Gonçalves em suas gargantas? através dos seus “atores”, todos pobres e, enquanto o espetáculo não caísse num tédio. Nada de maçarocas de emoções. Domínio do (Coreografia) e Junior Santana (Figurino). Foram pobres, majoritariamente negros. O Haiti, Angola, ofício. Meu desejo carinhoso era que cada um dos atores/atrizes tivessem seu “dó determinantes. Guiado pelo tema e acompanhando o cotidiano das vidas Burundi ... é ali, sim. Sugeri à equipe, especialmente aos de peito”. Embora a coreografia e a música tenham presença marcante, considero humanas, suas perdas, tragédias, alegrias e poesias que artistas, que o assistissem. Ali estava algo que nunca vi: A um espetáculo dedicado ao ator/autor. É bom salientar que setenta por cento do Hilton Cobra fazem vibrar nossa existência, fui fisgado por mais alguns lúcida loucura de uma mulher em turbilhão. Depois de texto foi criado pelos atores, uma marca da Cia dos Comuns, que deverá cada vez Diretor Cia dos Comuns questionamentos: Quais os gritos que tiveram e ainda “Estamira”, tive a certeza de que estávamos trilhando um mais ser enriquecida. O desenvolvimento de sua própria dramaturgia. têm de ser silenciados para a possível convivência num caminho perturbadoramente e indesejavelmente certo. Personagens, não: EX PE RI ÊN CI AS. Cansei de falar em Teatro através de mundo regido pelos padrões culturais hegemonicamente outros. Dá um tempo!

Appendix C

Silêncio. "Psiu, 2007!"

Eu e Zebrinha estivemos juntos desde as primeiras E, a partir dali..., os elementos com os quais a discussões com o diretor Hilton Cobra acerca do criação musical se dá para mim foram sendo • O Projeto de Lei do Estatuto da Igualdade Racial ainda • A maioria dos encarcerados nos presídios brasileiros, é

"Silêncio", e muito foi dito por nós e uns aos outros sobre fornecidos pelas seqüências coreográficas. Textura, ! não foi votado pelo Congresso. Sim, porque negra; o assunto. Percorremos, nesses momentos de andamento, caráter, forma, contornos melódicos, oCongresso tem que discutir, e muito, uma Lei que • A maioria dos favelados, é negra; especulação conjunta, caminhos que nos permitiram pôr relações intervalares, arcabouço rítmico,

7 nos coloque, pelo menos perante ela, a Lei, em pé de • A maioria das crianças e jovens mortos nas guerras do em diálogo conceitos da psico-acústica e mitos africanos, densidade... Tudo surgiu do trabalho conjunto com igualdade; tráfico, é negra; o discurso verbal e o silenciamento do ser, o fluxo Zebrinha que, num episódio inusitado, dançou • A Lei 10639/2003, que torna obrigatório o ensino da • A maioria dos “soldados” do tráfico, é negra; ininterrupto do pensamento e a seleção realizada entre uma seqüência inteira enquanto eu gravava em 0 história e cultura afro-brasileira e africana nas escolas • A maioria analfabeta, é negra; cérebro e aparelho auditivo, escolhendo o que se quer tempo real no quarto do Hotel em que estávamos ainda não foi plenamente implementada; • A maioria dos catadores de lixo, é negra;

ouvir dentro da floresta sonora em que nos hospedados e que havíamos transformado em 0 • A Ministra Matilde Ribeiro quase apanhou, porque • A maioria da população de rua, é negra; encontramos. estúdio. Cheguei a dizer que ele assina a disse que é natural que pretos não gostem de brancos; • A maioria desempregada, é negra; supervisão musical deste trabalho. • A política de cotas continua provocando discussões • A maioria das crianças mortas por falta de higiene, de 2 calorosas nos meios acadêmicos, quando ela, pelo comida e saúde, é negra; Seja pelos caminhos da física ou das metafísicas,

menos ela, já é fato; • A maioria nos manicômios, é negra; concordamos quanto ao silêncio como fenômeno O que há de gesto composicional na música do • A titulação das terras quilombolas continua sendo uma • Como também é negra a maioria nas filas dos postos , subjetivo. E talvez do mergulho em nossa subjetividade silêncio emergiu da dança e nela se justifica. Ambos tarefa “zumbílica”; de saúde, nas enormes filas para matricular os filhos tenhamos chegado à loucura cotidiana e pessoal de cada catalisados pelo ser teatral que é o ator e diretor • Descobriram que negros também têm sangue nas escolas públicas sucateadas, sem equipamentos, um, especificamente as neuroses geradas pela Hílton Cobra. u europeu, ou seja, sangue “azul”. Enfim, somos todos sem professores, sem segurança, sem... discriminação racial na população negra à qual iguais. Há há há há há; pertencemos. Findo o tempo de criação, uma hora de música foi i • Os brancos americanos ainda usam o símbolo da forca e... entregue ao “artista do som” Filipe Pires. Este, para lembrar aos negros qual é o seu lugar no país da

Somente era certo para nós que aquele diretor, para mim, um dos únicos capaz de compreender a s liberdade e justiça para todos; • U jenetissista James Watson, pai du DêNêA, diçi “us habitualmente e por vocação bom orador, estava de intenção cênica que permeia a minha música. Ele é • A África, berço da humanidade e celeiro para nêgrus çaun menus intelijentis qi us brancu”! experimentos dos grandes laboratórios e empresas

verdade interessado num outro discurso que não o da o cara. Estamos juntos desde Bakulo. Os P multinacionais (Aids, alimentos para teste, etc, etc, Há há há há há há há há há há. Oh, raaaaça! palavra. Esta não seria excluída do espetáculo, porém espetáculos do Bando de Teatro Olodum e da Cia A música/ etc), continua sendo o continente mais empobrecido não teria status de ponto de partida na construção de dos Comuns nos permitem, de forma continuada, do planeta; movimento uma dramaturgia pressentida por Cobrinha e apenas desenvolver um trabalho e uma percepção de intuída por nós. A experiência sensorial passou, a partir música para teatro que nos interessa e estimula a do “Silêncio” daí, a ter uma importância grande para o processo de ter novas idéias. criação em que estávamos envolvidos. Alexandre Aguiar, Cidinha da Silva, Conceição Evaristo, Cuti, Denise Negra, Evoé! Axé! Cobrinha, Zebrinha, Tânia, Valéria, Elaine Dual, Fernando Barcellos, Fernando Coelho Bahia, Grupo Teatro de Anônimo, A seqüência coreográfica criada por Zebrinha, em uma Rodrigo, Cridemar, Débora, Negrete, Sarito, Gustavo Mello, Inaicyra Falcão, João Carlos Artigo, Luciana Castro, Luis Marfuz, tarde, levou-me a pensar na sonoridade que orientaria o Bruno, Gabi, Ana Paula, Ângelo, Felipe Coury, Biza, Luiza Bairros, Luiz Alberto - Secretário da SEPROMI/BA, Makota Valdina Pinto, trabalho de composição da musica do Silêncio. Produzi, Filipe Pires, Janaína, Denis, Vinícius, Fernando e Agradecimentos Mariza Guimarães, Martinha de Oliveira, Muniz Sodré, Natara Ney, Néia Daniel, impulsionado pelos movimentos dos atores, e chegamos todos que fizeram esse Silêncio acontecer. Osmar Holannda e toda a equipe do Liceu de Artes e Ofícios, Patricia Fox, ao resultado apontado por Cobra como aquele que Reginaldo Flores (Conga), R. Simões, Ruth Almeida, Sandra Silveira e Thomas Klein. deveria ser seguido a partir dali. Salvador, 18 de outubro de 2007 Jarbas Bittencourt

65 Appendix D

Silêncio. "A música/movimento do 'Silêncio'"

pertencemos. Findo o tempo de criação, uma hora de música foi i • Os brancos americanos ainda usam o símbolo da forca e... entregue ao “artista do som” Filipe Pires. Este, para lembrar aos negros qual é o seu lugar no país da

66 Appendix E

Appendix E Silêncio. Cover of the Program of Silêncio in English

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79 Vita

Gustavo Melo Cerqueira (Gustavo Mello) is actor, director, and playwright. Graduated in Law from the Federal University of Bahia, Gustavo currently integrates the MA program in the African and African Diaspora Studies Department at the University of Texas at Austin. Gustavo performed in films, soap operas, and theatrical plays. He performed at Cia. Teatro dos Novos for two years in the city of Salvador, Bahia, where he also worked as assistant director in several plays of Bando de Teatro Olodum. He also worked for seven years with Companhia dos Comuns, in Rio de Janeiro, a black theatre group dedicated to the development of afro-Brazilian aesthetics in theater. He is the playwright and director of the play OriRe - Saga um Herói que confrontou a Morte, held by INDEC - Instituto de Desenvolvimento Cultural. Gustavo edited the books I Fórum Nacional de Performance Negra, II Fórum Nacional de Performance Negra, and III Fórum Nacional de Performance Negra, in addition to the periodicals Olonadé - o Teatro da Comuns and Olonadé – a cena negra brasileira.

Email: [email protected]

This report was typed by the author.