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CRISTINA SANCHES RIBEIRO the LIVING THEATRE E a CRIAÇÃO COLETIVA: INTERSECÇÕES NO TEATRO BRASILEIRO Dissertação Apresentad

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CRISTINA SANCHES RIBEIRO the LIVING THEATRE E a CRIAÇÃO COLETIVA: INTERSECÇÕES NO TEATRO BRASILEIRO Dissertação Apresentad CRISTINA SANCHES RIBEIRO THE LIVING THEATRE E A CRIAÇÃO COLETIVA: INTERSECÇÕES NO TEATRO BRASILEIRO Dissertação apresentada ao Curso de Pós Graduação em Teatro da Universidade do Estado de Santa Catarina, como requisito parcial para obtenção de grau de Mestre em teatro. Orientador: Prof. Dr. Edélcio Mostaço FLORIANÓPOLIS 2016 RESUMO RIBEIRO, Cristina Sanches. Living Theatre e a Criação Coletiva – Intersecções no Teatro Brasileiro. 2016. 150 f. Dissertação (Mestrado em Teatro) – Universidade do Estado de Santa Catarina. Programa de Pós Graduação em Teatro. Florianópolis, 2016. Este trabalho tem por objetivo investigar o desenvolvimento da criação coletiva no teatro norteamericano a partir do início da trajetória do grupo teatral Living Theatre, e considerar suas intersecções em certos grupos do teatro brasileiro a partir da vinda do grupo ao país e do encontro com o coletivo Teatro Oficina na década de 1970. Este estudo busca considerar o contexto histórico, as influências artísticas e as diversas vertentes teóricas que levaram o Living Theatre a buscar uma nova forma de fazer teatro, mais conectado com a vida cotidiana e com preocupações sociais. O esgotamento das formas tradicionais de expressão artística e o interesse a aspectos sociais e políticos pelos artistas acabou criando uma nova forma de produzir artisticamente. O trabalho avalia a bibliografia sobre a trajetória do Living Theatre, desde sua fundação, suas montagens mais marcantes até a vinda ao Brasil, a convite do grupo brasileiro. Investiga através de relatos dos fundadores Judith Malina e Julian Beck e outras bibliografias, os procedimentos que foram desenvolvidos paulatinamente neste período e progrediram para o processo da criação coletiva. A pesquisa se dá através da análise dos espetáculos do Living: The Connection, The Brig, Frankstein, Paradise Now e o Legado de Caim e do espetáculo do Teatro Oficina, Gracias Señor. O estudo identificou critérios e recursos da trajetória do Living Theatre para o desenvolvimento do processo de criação coletiva, servindo de inspiração para muitos grupos no teatro contemporâneo, principalmente na América e Europa. Palavras-chave: Living Theatre. Teatro Oficina. Teatro Experimental. Anarquismo. ABSTRACT RIBEIRO, Cristina Sanches. Living Theatre and the Colletive Criation- Intersections in brazilian theater. 2016. 150 f. Thesis (Mestrado em Teatro) – Universidade do Estado de Santa Catarina. Programa de Pós Graduação em Teatro. Florianópolis, 2016. This thesis aims to investigate the collective creation development in the North American theater following the trajectory of the group Living Theatre, and consider its intersections with some Brazilian theater groups after meeting up with the collective Teatro Oficina in the 70‟s in Brazil. This dissertation intents to consider the historical context, the artistic influences and the various theoretical aspects that led the Living Theatre to seek a new form of theater, more connected to everyday life and social concerns. The depletion of traditional artistic expression forms gathered with the artists sight on the political and social scope ended up creating a new way of producing artistically. The study evaluates the literature on the trajectory of the Living Theatre since its foundation, its most striking plays until their coming to Brazil by the invitation of the Brazilian group. Investigates through literature of the founders Judith Malina, Julian Beck and other bibliographies, the procedures that were gradually developed in this period and thrived to the process of collective creation. The research is guided through the analysis of the Living plays: The Connection, The Brig, Frankenstein, Paradise Now and the Legacy of Cain and Teatro Oficina play, Gracias Señor. The study identified the features and criteria of the Living Theatre course for the development of the collective creation process, serving as inspiration for many contemporary theater groups, especially in America and Europe. Key-Words: Living Theatre. Teatro Oficina. Experimental Theater. Anarchism. LISTA DE ILUSTRAÇÕES Figura 1 - Judith Malina e Julian Beck ........................................................................ 17 Figura 2 - Cartaz do espetáculo The Connection .......................................................... 68 Figura 3 - Cartaz do espetáculo The Brig ..................................................................... 77 Figura 4 - Estrutura do cenário do espetáculo Frankenstein ......................................... 87 Figura 5 - Cenário de Piscator e Frankenstein: ........................................................... 90 Figura 6 - Uma das apresentações do espetáculo Paradise Now .................................. 95 Figura 7 - Imagem que deu origem às oito fases do trabalho do espetáculo Paradise Now ............................................................................................................................ 98 Figura 8 - Judith Malina e Julian Beck em uma prisão brasileira. .............................. 117 Figura 9 - Interior do espaço atual do Teatro Oficina. ................................................ 121 SUMÁRIO 1 INTRODUÇÃO ........................................................................................................ 6 2 TRAJETÓRIA ......................................................................................................... 9 2.1 OS FUNDADORES .......................................................................................... 17 2.2 FUNDAÇAO E FILIAÇÃO ARTÍSTICA DO LIVING THEATRE .................... 19 2.3 CRIAÇÃO DO LIVING THEATRE ................................................................ 23 2.4 PRIMEIROS EXPERIMENTOS ..................................................................... 26 2.5 CAMINHOS ARTÍSTICOS ............................................................................ 36 2.6 O ANARQUISMO ............................................................................................ 43 2.7 COMPROMISSO COM A VANGUARDA ARTÍSTICA ................................. 52 2.8 FOCO NA QUESTÃO SOCIAL ..................................................................... 57 3 CRIAÇÃO COLETIVA ......................................................................................... 62 3.1 THE CONNECTION ......................................................................................... 68 3.2 THE BRIG .................................................................................................. 77 3 FRANKENSTEIN ................................................................................................ 87 3.4 PARADISE NOW ............................................................................................. 94 4 THE LIVING THEATRE NO BRASIL .............................................................. 103 4.1 CONVITE AO BRASIL .................................................................................. 107 4.2 TEATRO OFICINA ........................................................................................ 109 4.3 LEGADO DE CAIM NO BRASIL ................................................................... 113 4.3.1 São Paulo ................................................................................................. 113 4.3.2 Ouro Preto ................................................................................................ 116 4.4 A PRISÃO NO BRASIL .................................................................................. 116 4.5 INTERSECÇÕES ............................................................................................ 121 4.5.1 Teatro Oficina ........................................................................................ 121 4.5.2 Processo e experimentação .................................................................... 126 4.5.3 Gracias Señor ........................................................................................... 129 5 CONSIDERAÇÕES FINAIS ............................................................................... 134 6 REFERÊNCIAS BIBLIOGRÁFICAS ................................................................ 137 Sítios Visitados: ................................................................................................ 140 1 INTRODUÇÃO O coletivo teatral The Living Theatre foi criado em 1947 em Nova York, pela alemã Judith Malina e o norte americano Julian Beck. O grupo foi criado com o objetivo de busca de uma arte que fizesse as pessoas sentirem. E a partir deste ponto, agirem. Uma ação potente e útil em relação aos interesses de uma sociedade mais justa e presente. Desta forma, o grupo buscava negar toda convenção teatral comercial que inseria o teatro na esfera financeira da compra e venda. Em relação à estética, buscaram um novo teatro capaz de criar um sentido para além da representação: Um espetáculo revolucionário que almejava restaurar os valores sociais íntegros de uma sociedade justa, estabelecendo uma relação mais pessoal com o seu público. Esse novo conceito de engajamento foi inspirado pelos movimentos de vanguarda e da contracultura das décadas de 1960 e 1970, provenientes de jovens norteamericanos atuantes no contexto histórico em que se encontravam: o movimento hippie, a luta contra a Guerra do Vietnã e os movimentos de igualdade social em relação aos negros, mulheres e homossexuais. Além desse influxo histórico renovador, o campo das artes em modo geral estava conhecendo uma ampla gama de experimentações, especialmente no campo das artes visuais, teatro, dança, música
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