BENT De MARTIN SHERMAN E AMOR E RESTOS HUMANOS De BRAD FRASER

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BENT De MARTIN SHERMAN E AMOR E RESTOS HUMANOS De BRAD FRASER UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO DO DEPARTAMENTO DE LETRAS MODERNAS DOUTORADO EM ESTUDOS LINGÜÍSTICOS E LITERÁRIOS EM INGLÊS HISTORICIDADE, REPRESENTAÇÃO E SEXUALIDADE: UMA LEITURA CRÍTICA DAS CONTRADIÇÕES DO TEATRO CONTEMPORÂNEO EM BENT de MARTIN SHERMAN e AMOR E RESTOS HUMANOS de BRAD FRASER Lajosy Silva São Paulo Julho de 2007 2 LAJOSY SILVA HISTORICIDADE, REPRESENTAÇÃO E SEXUALIDADE: UMA LEITURA CRÍTICA DAS CONTRADIÇÕES DO TEATRO CONTEMPORÂNEO EM BENT de MARTIN SHERMAN e AMOR E RESTOS HUMANOS de BRAD FRASER Tese apresentada ao Programa de Pós-Graduação do Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, como requisito parcial à obtenção do título de Doutor em Estudos Lingüísticos e Literários em Inglês. Orientadora: Profª Dra. Maria Sílvia Betti São Paulo Universidade de São Paulo Agosto de 2007 3 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LINGÜÍSTICOS E LITERÁRIOS EM INGLÊS Tese intitulada “Historicidade, Representação e Sexualidade: uma leitura crítica das contradições do teatro contemporâneo em Bent de Martin Sherman e Amor e Restos Humanos de Brad Fraser”, de autoria de Lajosy Silva, defendida diante da banca examinadora constituída pelos seguintes professores: Profª Dra. Maria Silvia Betti Profª. Dra. Maria Cecília Queiroz de Moraes Pinto Profª Dra. Elizabeth Ferreira Cardoso Ribeiro de Azevedo Profº. Dr. Jorge Almeida Profº Dr. Sérgio de Carvalho Agosto de 2007 4 A não-dedicatória: diante das péssimas condições de emprego, o diálogo surdo nos congressos, simpósios e dentro da própria academia, não dedico esse trabalho a ninguém; fruto de um período difícil, mas enfim superado. 5 AGRADECIMENTOS - Agradeço à orientação da Prof.ª Dra. Maria Sílvia Betti durante o processo de elaboração da tese, das leituras e discussões; - À minha família em sua distância (quase infinda) em Minas Gerais: Joana, Larice, Priscila, Jorge Luiz e agora... Isadora e Mariana para completar nosso pequeno núcleo familiar; - Ao grande amigo Fúlvio Torres Flores pelo apoio e carinho; - Aos amigos que fiz na USP e que acompanharam essa fase: Sirlei e Reginaldo Dudalski, Roberto Biscaro e Graziela Pinheiro; - Aos amigos do English on Campus, com quem compartilhei bons momentos de amizade e companheirismo: Gisele, Gláucia, Vanessa (in memoriam), Vera Ramos e Valdemar; - Aos amigos no exterior que sugeriram idéias e colaboraram com livros e informações úteis: Dan McLean (Texas), Jim Guy (Kansas), Paul Pike e Andrew Hicks (Toronto), Tori (Singapura), Eric Ellsworth (Las Vegas) e Ron Wilson (Fort Wayne); - Aos amigos que fiz na cidade de São Paulo e que me ajudaram em diversos momentos, muito além da questão acadêmica: Alexandre Rodrigues, Graciel Barbieri e Márcio Maia; - Ao grande amigo e irmão Marcos Medeiros Dantas e a Confraria do Tambor, grupo que encenou Bent a partir da minha tradução sob a direção de Paulo Merísio; - Aos diretores Roberto Vignati e Carlos Gradim que foram solícitos e receptivos num país em que a pesquisa é tão negligenciada e a memória, quase inexistente. 6 Resumo Esse trabalho pretende discutir a questão histórica e da representação da homossexualidade no teatro a partir de duas peças de teatro: Bent do americano Martin Sherman e Amor e Restos Humanos do canadense Brad Fraser. As peças encenadas em 1979 e 1989 permitem uma leitura e interpretação do tempo e do espaço enquanto representação da história e das contradições da sociedade contemporânea. O trabalho também pretende discutir a noção de gênero e suas limitações enquanto representação de minorias, assim como a representação da homossexualidade estaria ligada a questões mais amplas que abarcam aspectos sócio- econômicos, políticos e ideológicos. Palavras-chave: teatro, sexualidade, história, gênero e política. 7 Abstract This work aims to discuss the historical concerned to the representation of homosexuality in the theater based on the reading of two plays: Bent by American playwright Martin Sherman and Unidentified Human Remains and The True Nature of Love by Canadian playwright Brad Fraser. These two plays were performed in 1979 and 1989 and allow us to develop an interpretation of time and space as historical representation of the contradictions of contemporary society. This work also aims to discuss the notion of genre and its limitations towards the representation of minorities as well as the homosexuality would be connected to wider issues such as social, economic, political and ideological issues. Key-words: theater, sexuality, history, genre and politics. 8 Sumário Introdução .............................................................................................................................. 09 Capítulo 1 História, Representação e Sexualidade: Uma introdução teórica no teatro contemporâneo 1. Representação e História ................................................................................................. 12 2. A poética da “fragmentação” e minimalismo na literatura moderna ............................. 29 3. Patriarcado e Modelo Heteronormativo e a Sexualidade ................................................. 31 Capítulo 2 O Diálogo Político e Histórico: uma leitura analítica de Bent de Martin Sherman 1. O diálogo histórico e político em Bent de Martin Sherman ............................................ 41 2. Bent: expressões do político e do coletivo no discurso das personagens ......................... 64 3. O amor político em Bent ................................................................................................... 73 Capítulo 3 O Mixmaster Dramático: o conservadorismo da experimentação em Amor e Restos Humanos de Brad Fraser 1. Amor e Restos Humanos: painéis de um mixmaster ........................................................ 79 2. O simulacro em Amor e Restos Humanos ...................................................................... 94 3. A metáfora do serial killer ............................................................................................... 106 Capítulo 4 Representação da Homoafetividade no Teatro: política e crítica à noção de gênero 1. O contraponto histórico de Bent: história, gênero e contradições .................................. 110 2. A verdadeira natureza do Amor: Historicidade, Utopia e Degradação ............................ 118 3. AIDS e a metáfora do coletivo ........................................................................................ 133 4. A memória histórica: humor camp e estereótipos ............................................................ 138 5. A subcultura gay: as limitações do discurso de gênero e identidade .............................. 143 6. O visível e o invisível na representação da homossexualidade ........................................ 151 Capítulo 5 As Encenações no Brasil: perspectivas, conflitos e descobertas cênicas 1. A encenação de Amor e Restos Humanos (2003): a clausura das .................................. 170 sensações 2. A encenação de Bent (1981): diálogos com o passado e o presente ............................ 179 3. Análise e tradução de Bent (2006): prática e diálogo ......................................... 197 Considerações Finais .......................................................................................................... 213 Conclusão ............................................................................................................................. 224 Bibliografia .......................................................................................................................... 228 9 Introdução Este trabalho pretende analisar a questão da representação histórica da homossexualidade no teatro tendo duas peças como corpus: Bent de Martin Sherman e Unidentified Human Remains and The True Nature of Love1, do dramaturgo e cineasta canadense Brad Fraser. As duas peças foram encenadas no Brasil, sendo Bent, mantido com seu título original em inglês e a segunda, traduzida como Amor e Restos Humanos, resultado da tradução da versão cinematografia da peça, dirigida pelo cineasta Denys Arcand em 1993. Nesse caso, a peça de Brad Fraser será mencionada como Amor e Restos Humanos, devido essa tradução ser mais conhecida, embora o título original seja discutido ao longo do trabalho. A escolha das peças é um dos primeiros pontos que procuro ressaltar nessa introdução, já que se trata de um teatro contemporâneo, produzido no final dos anos setenta (Bent) e oitenta (Amor e Restos Humanos). Martin Sherman é um dramaturgo mais conhecido apenas por uma peça, Bent, embora ele tenha escrito outras: algumas foram encenadas nos Estados Unidos; outras permanecem inéditas. Por outro lado, Brad Fraser sobressaiu-se com uma outra peça, Pobre Super Homem, que chegou a ser montada no Brasil. O dramaturgo canadense ainda desenvolve atividades como cineasta, apresentador de TV e roteirista. A questão da representação é um ponto que pretendo discutir, mas que não parte da questão de uma identidade ou mapeamento da visibilidade gay no teatro como um subgênero literário. Procuro levantar discussões e questões relacionadas à representação histórica dos homossexuais sob duas perspectivas. A primeira diz respeito à perseguição durante o regime nazista, as barbáries e a repressão num diálogo político com os movimentos dos gay civil rights do anos 60 presente em Bent. Em Amor e Restos Humanos, a discussão abarca o 1 Restos Humanos
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