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MUITO ALÉM DO TEATRO DO OPRIMIDO: Um Panorama Da Obra Dramatúrgica De Augusto Boal 3

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MUITO ALÉM DO TEATRO DO OPRIMIDO: Um Panorama Da Obra Dramatúrgica De Augusto Boal 3 JOSÉ EDUARDO PARAÍSO RAZUK MUITO ALÉM DO TEATRO DO OPRIMIDO Um panorama da obra dramatúrgica de Augusto Boal Pesquisa de pós-doutoramento sob a supervisão da Profa. Dra. Sandra Reimão. EACH - Escola de Artes Ciências e Humanidades USP - Universidade de São Paulo 2019 MUITO ALÉM DO TEATRO DO OPRIMIDO Um panorama da obra dramatúrgica de Augusto Boal RESUMO O objeto deste trabalho são as peças teatrais de Augusto Boal. Uma pesquisa cujos principais objetivos consistem na reunião de informações fundamentais sobre esse importante patrimônio da dramaturgia nacional e a realização de pequeno ensaio sobre as peças desse consagrado artista e intelectual brasileiro, cuja relevância histórica na luta contra o regime militar e reconhecimento internacional como o teatrólogo criador do Teatro do Oprimido, por vezes tem relegado a um segundo plano de análise o seu trabalho como autor teatral. Nesta investigação, apresentamos uma síntese histórica sobre esse acervo e buscamos ainda respostas às questões relacionadas aos processos de criação das peças teatrais no momento em que as obras foram concebidas e redigidas. Ensaiar uma compreensão contextualizada desse riquíssimo acervo e apresentar uma interpretação do discurso que procure identificar as influências causadas pela história de vida e pelos acontecimentos políticos e culturais do país que marcaram a trajetória desse grande artista que representa o que de melhor se realizou na arte teatral brasileira é, portanto, o que através desse estudo se pretendeu realizar. PALAVRAS-CHAVE Augusto Boal; Teatro Brasileiro; Teatro Político; Teatro e Engajamento; MUCH BEYOND THE THEATRE OF THE OPPRESSED An overview of Augusto Boal's dramatic plays SUMMARY The object of this work are the theatrical plays of Augusto Boal. This research whose main objectives consist of the gathering of fundamental information about this important heritage of national dramaturgy as well as the composition of a small essay on the pieces by this consecrated Brazilian artist and intellectual, whose Historical relevance in the fight against the military regime and international recognition as the playwright, creator of the Theatre of the Oppressed, has sometimes reduced to a secondary plan the analysis of his work as a theatrical author. In this investigation, we present a historical synthesis of this collection and seek to answer questions related to the creative process of these plays in the moment they were conceived and drafted. To rehearse a contextualized understanding of this rich collection and to present an interpretation of the discourse that seeks to identify the influences caused by the life story and political and cultural events of the country that marked the trajectory of this great artist who represents what was best accomplished in the Brazilian theatrical art, and that is what though this study, we wish to have accomplished. KEY WORDS Augusto Boal; Brazilian Theater; Political Theater; Theater and Engagement; SUMÁRIO Introdução ............................................................................................................................... 03 Componentes Metodológicos .................................................................................................. 03 O Acervo de Boal: um patrimônio ainda pouco explorado ................................................... 08 Teatro, a ‘Mídia’ Essencial ..................................................................................................... 09 A Trajetória Teatral e Política de Boal ................................................................................... 18 A Dramaturgia de Augusto Boal ............................................................................................. 22 As Fases da Dramaturgia de Boal ........................................................................................... 24 Fase dos Retratos Cariocas (entre 1950 e 1956) ..................................................................... 26 As Peças da Fase dos Retratos Cariocas ................................................................................. 34 Martim Pescador ..................................................................................................................... 34 Maria Conga ............................................................................................................................ 36 Histórias do meu Bairro .......................................................................................................... 37 Orungan .................................................................................................................................. 37 Laio se Matou .......................................................................................................................... 38 O Logro ................................................................................................................................... 44 A Casa do Outro Lado da Rua ................................................................................................ 47 O Cavalo e o Santo ................................................................................................................. 48 Filha Moça .............................................................................................................................. 51 As “Peças Perdidas” ............................................................................................................... 54 As “Peças Achadas” ............................................................................................................... 56 Fase da Doutrina Teatral Arena (entre 1956 e 1964) .............................................................. 58 As Peças da Fase da Doutrina Teatral Arena ......................................................................... 66 Marido Magro, Mulher Chata ................................................................................................ 67 Helena e o Suicida ................................................................................................................. 73 As Famosas Asturianas .......................................................................................................... 74 Revolução na América do Sul ................................................................................................. 76 José, do Parto à Sepultura ...................................................................................................... 86 O Melhor Juiz, o Rei ................................................................................................................ 90 Mutirão em Novo Sol .............................................................................................................. 94 O Golpe a Galope .................................................................................................................. 99 Fase do Engajamento (entre 1964 e 1971) ............................................................................ 102 As Peças da Fase do Engajamento ....................................................................................... 122 Arena conta Zumbi ................................................................................................................ 124 Arena conta Tiradentes ......................................................................................................... 134 Tio Patinhas e a Pílula ........................................................................................................ 144 A Lua Pequena e a Caminhada Perigosa ............................................................................. 151 Arena conta Bolívar............................................................................................................... 154 Fase do Exílio (entre 1971 e 1986)........................................................................................ 159 As Peças da Fase do Exílio .................................................................................................. 164 Torquemada .......................................................................................................................... 164 Histórias de Nuestra América ............................................................................................... 170 A Tempestade ....................................................................................................................... 173 As Mulheres de Atenas ....................................................................................................... 177 Murro em Ponta de Faca ...................................................................................................... 182 O Corsário do Rei ............................................................................................................... 189 Considerações Finais ............................................................................................................. 196 Referências ............................................................................................................................ 199 Anexo 1- Laio se Matou ........................................................................................................ 209 Anexo 2- Filha Moça ........................................................................................................... 240 Anexo 3- O Cavalo e o Santo ................................................................................................ 259 MUITO ALÉM DO TEATRO DO OPRIMIDO: um panorama
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