Rc: 73763 - Issn: 2448-0959

Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 73763 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/lyrics/lesson-of-spirits The whimsical lesson of spirits & the strange madness of Lorena Martinez: A humanist poetics [1] ORIGINAL ARTICLE MATOS, Bruno Sérvulo da Silva [2], MARTINS, Benedita Afonso [3] MATOS, Bruno Sérvulo da Silva. MARTINS, Benedita Afonso. The whimsical lesson of spirits & the strange madness of Lorena Martinez: A humanist poetics. Revista Científica Multidisciplinar Núcleo do Conhecimento. Year 05, Ed. 12, Vol. 08, pp. 93-110. December 2020. ISSN: 2448-0959, Access link: https://www.nucleodoconhecimento.com.br/lyrics/lesson-of-spirits SUMMARY Nazareno Tourinho, in his career as a writer, essayist, critic and playwright, developed his works with awareness about his social role. A man of theater and spiritist, the playwright, among numerous publications, wrote plays and essays with emphasis on spiritism, whose principle is (in the words of Nazareno Tourinho himself), to transmit the essence of spiritist doctrine. Under this principle, two pieces stand out: The capricious lesson of spirits - A caprichosa lição dos espíritos (1997) and The Strange Madness of Lorena Martinez - A Estranha Loucura de Lorena Martinez (1997), in addition to a theoretical book – Spiritist Theater (1990). In this text, we will dialogue with the above-mentioned pieces for the specific study of theatrical dramaturgy, based on the theoretical book of this same author and others who have dedicated themselves or are still dedicated to the theme. In this article, we will present relevant concepts about dramaturgy and a brief reading of these published plays, whose themes are adapted to the precepts of an artistic-spiritist-humanist poetics. The reading will be done more in artistic-humanistic understanding than in the doctrine practiced by the author. Keywords: Dramaturgy, Nazareno Tourinho, humanitarian art. 1. INTRODUCTION 1.1 NAZARENO TOURINHO, A HUMANIST PLAYWRIGHT Before starting the analysis of the two focused pieces, we will present a little about the author's work, 1 / 16 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 73763 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/lyrics/lesson-of-spirits initially with the words of the critic Acyr Castro, in one of the written criticisms about the work of Nazareno Tourinho, which he called "creative implosion", a definition that fits fully in tourinho's work. He writes on numerous topics, all focused on the clear issues of the human being. "Creative implosion. In the theatre of Nazareno Tourinho, the battlefield is his mythological alter ego. Looking closely, it is a kaleidoscope of themes and related ideas to propose an ideal transposition of the fact."[4] (CASTRO, 1982). In this context, we agree, therefore, with Acyr Castro, who referred to the author's mythological alter ego, because he reaffirms Nazareno's modes of expression, although we add other aspects besides mythological. He was always absolutely consistent with the values he valued, practiced in life and recorded them in his work, both focused on spiritist[5] doctrine and writings for the theater[6]. Padua Costa reiterates some of the author's qualities, to which we insert in the traits of his personality, a humanist convinced of his conceptions of life. I consider it appropriate to emphasize an important and persistent trait of the personality of Nazareno Tourinho, who makes an unalterable presence in everything he accomplishes and which is reflected in his literary work: the inflexible honesty that characterizes the way he expresses his way of feeling. He does not fear debates, even when necessary, he becomes aggressive, in defense of his truth, always focused on the greaterness of the common good. Hence, we perceive this "entire fidelity to the changes of the urban and rural universe", especially in the literature that Nazareno Tourinho provides us, as a playwright of undeniable merits[7]. Here we mention part of the presentation of the complete work: Plays by Nazareno Tourinho, already referenced in a footnote, so that the reader knows a little more about his production, seeks other pieces to read and, why not, stage. His textual plots contain elements of popular culture, Amazonian vocabulary, social and psychological problems, among other topics. From historical events or totally fictional, Nazareno Tourinho expresses through scenic writing the traces of the peoples who inhabit Brazil. These characterizations of writing are worked under the theme addressed, the clear and well-articulated language, and the importance it conveys to the collective memory, ensuring through these care and others with the texts, the communicability of the author with the public. It is worth noting that his pieces are appreciated both by reading and by staging. His texts, further in the scene, befits individual or dramatized reading, they have fluidity, lightness, sense of humor, irony and, above all, as good dramaturgy requires, they are composed of conflicts, peripécia, agility, verisiness, well-structured dialogues, surprises and unexpected resolutions to the impasses, not always presenting an ending considered happy as, for example, the play Knot of 4 Legs - Nó de 4 Pernas, in which in the end couples are left with children exchanged. Thus, such characteristics are the precise requirements for an empathic relationship between the author and the reader/spectator. Nazareno is a master in this art of writing for the scene. And, fluently, his texts suggest or require proper interpretation to the principles that the pieces contain, this is one of the recommendations of the author who wishes to take them to the stages. These attributes are common in each piece of the author, in which the themes deal from the exploration of rubber tappers, to the golden age of latex extraction; the revolt of the caboclos against the established power; slavery; the love strike between the riverside couples; religiosity; ethics; censorship; and also 2 / 16 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 73763 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/lyrics/lesson-of-spirits repression. It is evident the proof of the author's personal references, about the coherence he draws between his ideas and his way of interpreting the world, about his principles and philosophy, as well as his way of living and his beliefs. These aspects are transcribed in his work, where written production, from a geographical perspective, extrapolates spaces, speaking of peoples to amazonian peoples, or not. This is another reason to reflect on the reception, redating and circulation of their plays around the world, being staged by amateur and professional theater groups since the publication of the first text in 1961. Because he loved the people, felt the people, lived the people, and learned their taste, language, longings, and passions, pains, and despairs (…). It was the people who marked it definitively for the literary vocation and it was the people who determined and conditioned their predestination for the scenic text. No other genre could seduce him more than the theater, precisely because of his dialogal and experiential character and through it you. it can recreate the characters he met in real life, and why the theater of you, before being a dialogue with the public, is an intimate dialogue, yours with your life, yours with your world, yours with your conscience (CAMPOS, 1969, p. 124). Returning to the quotation of Ápio Campos, we highlight, once again, the coherence of the author, in addition to his religious conviction, but according to his personality, his way of living and of getting involved with the socio-political-cultural context of his time and his people. So that, aware of the slippery role of conceptualizing art or a specific type of art, here, specifically the theatrical writing of Tourinho, we present this reading in construction of the two pieces. The difficulty of assertive conceptualizations in this field is due to how vivacious the arts are, their transformations and their paths traveled in the search for the understanding of such a wide area, in a world that can be changed. With regard to theater, in particular, it is no different, on the contrary, since its first manifestation, it is possible to say that the classifications or conceptualizations were written in their "most fragile line". For, as John Dewey art "is recreated every time it is experienced aesthetically." (BRANDI, 2005, p.14). Since there are the blessed "classifications" on all the arts, dramaturgy also carries them and goes from classical to postmodern, that is, there is a variety of alternatives to work with writing for theater, as many as the proposals of those who work them. In this text, we will deal with the two plays by the playwright Nazareno Tourinho, which we qualify as a humanist theme. Although the pieces: The capricious lesson of spirits and The strange madness of Lorena Martinez are called by the author as spiritists, we will point out that they go beyond the doctrine, or by following christian principles, are humanists, naturally, we respect the conceptions of the author, because they are themes dear to the spiritist community, to which he belonged and researched all his life. 2. SPIRITIST THEATRE BEYOND INDOCTRINATION In the book on Spiritist Dramaturgy, Tourinho warns that "This is a spiritist book, written by a spiritist for other spiritists" (TOURINHO, 1990, p. 11) and demonstrates the

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