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Dias Difíceis a Representação Da Violência Na Dramaturgia Britânica De Matriz Realista Do Pós-Segunda Guerra Mundial (1951-1967)

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Dias Difíceis a Representação Da Violência Na Dramaturgia Britânica De Matriz Realista Do Pós-Segunda Guerra Mundial (1951-1967) UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho DOUTORAMENTO EM ESTUDOS ARTÍSTICOS ESPECIALIDADE ESTUDOS DE TEATRO 2013 2 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho Tese orientada pela Professora Doutora Maria Helena Serôdio, especialmente elaborada para a obtenção do grau de Doutor em Estudos Artísticos, Especialidade Estudos de Teatro. 2013 3 4 Resumo A violência na sociedade e a sua representação artística têm sido desde sempre objecto de vibrantes debates. Na criação contemporânea, a violência continua a ser um dos mais insistentes refrãos temáticos motivando trabalhos que fazem confundir a realidade e a ficção, a violência e a sua representação. Este estudo analisa um corpus seleccionado de dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial, incluindo textos de John Whiting (Saints’s Day, 1951), Brendan Behan (The Quare Fellow, 1954), John Osborne (Look Back in Anger, 1956), Harold Pinter (The Birthday Party, 1958), Arnold Wesker (Chicken Soup with Barley, 1958; Roots, 1959; e I’m Talking about Jerusalem, 1960), John Arden (Serjeant Musgrave’s Dance, 1959), David Rudkin (Afore Night Come, 1962), Giles Cooper (Everything in the Garden, 1962), Edward Bond (Saved, 1965) e Charles Wood (Dingo, 1967). São textos reportados a uma geração de dramaturgos conhecidos como “Angry Young Men” e por uma Segunda Vaga de dramaturgos dos anos sessenta que a, seu modo, respondem às profundas alterações na geometria política e social, motivadas, em grande medida, pela Segunda Guerra Mundial. Na análise a que se procede é estudada a maneira como cada obra configura as representações de violência, de que resultou a diferenciação das seguintes tipologias: violência sistémica; violência sobre o corpo; violência verbal; e violência de guerra. Entende-se, neste estudo, a representação da violência como um meio para resgatar o teatro da banalização a que muitas vezes é sujeito e, por outro lado, demonstra-se que o teatro se revela particularmente apto a mostrá-la e a conceder-lhe a gravidade necessária ao seu pleno entendimento. Do mesmo modo, revela-se a violência como um traço aglutinador e estruturante para a dramaturgia desse período e propõe-se uma aproximação a um paradigma realista que mostre ser operativo para uma interpelação a algum do teatro contemporâneo. Palavras Chave: Violência / Realismo / “Kitchen-Sink Drama” / Dramaturgia britânica / Pós-Segunda Guerra Mundial 5 6 Abstract Violence in society and its artistic portrayal have always been the subject of vigorous debates. In the contemporary arts, violence still predominates as a central theme, giving rise to works that blur the boundaries between reality and fiction, violence and its representation(s). This study analyses a selected corpus of British dramaturgy within the realist tradition, from 1951 to 1967, including plays by John Whiting (Saint’s Day, 1951), Brendan Behan (The Quare Fellow, 1954), John Osborne (Look Back in Anger, 1956), Harold Pinter (The Birthday Party, 1958), Arnold Wesker (Chicken Soup with Barley, 1958; Roots, 1959; and I’m Talking about Jerusalem, 1960), John Arden (Serjeant Musgrave’s Dance, 1959), David Rudkin (Afore Night Come, 1962), Giles Cooper (Everything in the Garden, 1962), Edward Bond (Saved, 1965) and Charles Wood (Dingo, 1967). These are plays by the so-called Angry Young Men and by the Second Wave of playwrights in the sixties, responding ultimately to the profound transformations in political and social geometry caused by the Second World War. The plays are analysed in the light of the way that each work portrays violence accordingly to the following typologies: systemic violence, violence of the body, verbal violence and violence of war. On the one hand, violence is considered to be an efficient way to rescue theatre from the trivialisation it often suffers. On the other hand, theatre is in a particularly privileged position to show violence with all due seriousness. This study considers violence to be a fundamental feature of this period’s dramaturgy and it offers an approach to a realistic paradigm that can be used to address some works of the contemporary theatre. Keywords Violence / Realism / Kitchen-Sink Drama/ British Dramaturgy / Post-Second World War 7 8 Nota prévia As minhas primeiras palavras de agradecimento são para a Professora Doutora Maria Helena Serôdio, minha orientadora, minha amiga, voz solidária e exigente, presença sempre encorajante e fraterna. Devo-lhe este trabalho e muito, muito mais. Jamais conseguirei traduzir por palavras o quanto a estimo e admiro. Quero endereçar também os meus agradecimentos aos meus colegas na Escola Superior de Teatro e Cinema do Instituto Politécnico de Lisboa, que me foram sabendo ajudar quando mais precisava: em particular, aos Professores Doutores Eugénia Vasques, Armando Nascimento Rosa e Maria Sequeira Mendes. Mas quero também agradecer à instituição em geral, nas pessoas do seu Presidente, António Lagarto, e do seu Director do Departamento de Teatro, Álvaro Correia. Presto também o meu reconhecimento, nas pessoas dos seus Directores, às unidades de investigação com as quais tenho vindo a colaborar: ao Centro de Estudos de Teatro da Faculdade de Letras de Lisboa e ao CIAC – Centro de Investigação em Artes e Comunicação, da Universidade do Algarve / Escola Superior de Teatro e Cinema. Agradeço também aos vários colegas e amigos que, generosamente, foram conversando, discutindo e debatendo comigo algumas ideias e abrindo pistas para o que agora apresento: desde logo, ao meu muito saudoso amigo Paulo Eduardo Carvalho, que nas margens de um canal em Amesterdão me inspirou a alicerçar o que viria a ser este projecto. Mas também a Ana Raquel Fernandes, minha querida companheira, Luís Correia Carmelo, Mickaël de Oliveira, Gonçalo Amorim, Emília Costa, Markus Wessendorf e Ioulia Pipinia. Para a realização deste trabalho, beneficiei de uma Bolsa PROTEC (Programa de apoio à formação avançada de docentes do ensino superior politécnico), através do IPL – Instituto Politécnico de Lisboa, que me permitiu, durante dois semestres, poder leccionar em regime de tempo parcial. 9 10 En un mot je vous aime. Pierre Corneille, L’Illusion Comique, II.5 Para a Leonor e para o Alexandre: Que nunca precisem de violência. 11 12 Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-67) Índice Introdução ................................................................................................................. 19 Seria trágico não escrever sobre violência ............................................................. 19 Primeira Parte ............................................................................................................... 29 A representação artística da violência .................................................................... 29 Capítulo Um ........................................................................................................... 30 Tentativas de periodização da tematização artística da violência ................................... 30 1. A representação da violência na história do teatro ............................................................... 30 2. Cronologias para a representação da violência .................................................................... 36 3. A relevância da Segunda Guerra Mundial para o entendimento da violência ..................... 43 Capítulo Dois .......................................................................................................... 50 Esboço de uma cartografia da representação da violência no teatro ............................... 50 1. Violência: um conceito multímodo ...................................................................................... 50 2. Sentidos para a violência após a Segunda Guerra Mundial ................................................. 59 3. A representação artística da violência .................................................................................. 66 Segunda Parte ............................................................................................................... 87 A dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-67) .................................................................................................................... 87 Capítulo Um ........................................................................................................... 88 O teatro e o mundo no Reino Unido do pós-guerra ........................................................ 88 1. Os anos cinquenta: A tranquilidade e a ansiedade ............................................................... 88 2. A English Stage Company no Royal Court Theatre e o Arts Council ................................. 92 3. Mil novecentos e cinquenta e seis e tudo isso .................................................................... 100 4. Uma nova tipologia de herói .............................................................................................. 105 5. “Tudo menos a pia da cozinha?”: Kitchen Sink School ..................................................... 109 6. Kitchen Sink Cinema e Free Cinema ................................................................................
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