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Lucien Donnat, Um Criador Rigoroso © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 1 13/01/14 22:30 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 2 13/01/14 22:30 LUCIEN DONNAT um criador rigoroso © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 3 13/01/14 22:30 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 4 13/01/14 22:30 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 5 13/01/14 22:30 < Retrato de Lucien Donnat Meados da década de 1940 Col. ITD ABREVIATURAS Col. HAP — Coleção Hotel Avenida Palace Col. HL — Coleção Hotel da Lapa Col. ITD — Coleção Ida Turner Donnat Col. PEH — Coleção Palácio Estoril Hotel FGC-Biblioteca de Arte — Biblioteca de Arte da Fundação Calouste Gulbenkian HCML — Hemeroteca da Câmara Municipal de Lisboa LRR — Livro de Registo de Repertório MNT — Museu Nacional do Teatro TNDM II — Biblioteca | Arquivo do Teatro Nacional D. Maria II © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 6 13/01/14 22:30 ÍNDICE 9 TEATRO E MEMÓRIA Carlos Vargas 13 UM TEATRO CHAMADO LISBOA Margarida Acciaiuoli 19 LUCIEN DONNAT: UMA VIDA BRILHANTE Eunice Tudela de Azevedo 39 UM DESENHADOR PARA UMA COMPANHIA: LUCIEN DONNAT (1920-2013) E A COMPANHIA REY COLAÇO ROBLES MONTEIRO (1921-1974) Vítor Pavão dos Santos 87 LUCIEN DONNAT: DECORADOR Rui Afonso Santos CATÁLOGO 113 TODO O GRANDE TRABALHO TEATRAL DE LUCIEN DONNAT (1941-1974) Vítor Pavão dos Santos 245 UM ESPETÁCULO: ANTÍGONA (1946) Vítor Pavão dos Santos 275 UM ÚLTIMO TRABALHO: A SENHORA KLEIN (1994) Vítor Pavão dos Santos 289 DECORAÇÃO EM ESPAÇOS PÚBLICOS Rui Afonso Santos © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 7 13/01/14 22:30 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 8 13/01/14 22:30 TEATRO E MEMÓRIA Os teatros vivem concentrados no presente e na preparação do futuro. A peça que está em cena, a substituição de última hora, o novo texto que se ensaia, o cenário que se constrói, a digressão que se prepara. A voragem das horas e dos dias consome o tempo disponível e impede, tantas vezes, um olhar sereno para o que nos precedeu, passado recente ou mais distante. Revisitar a vida e a obra de Lucien Donnat (1920-2013) era uma evidência e uma necessidade para o Teatro Nacional D. Maria II. Mas era também um dever, tantas vezes adiado, que este projeto se concretizasse por iniciativa do Teatro Nacional D. Maria II, em parceria com o Museu Nacional do Teatro e a Imprensa Nacional-Casa da Moeda. Trata-se, na verdade, de estudar e dar a conhecer um período notável da vida e obra deste criador teatral, associado, em grande parte, à Companhia Rey Colaço Robles Monteiro que, ao tempo, geria o 9 Nacional. Ao estudarmos o extenso trabalho teatral de Donnat, estudamos também um tempo e uma comunidade parcialmente desaparecidos e procuramos dar a ver parte da história do teatro em Portugal no século xx. Passados quarenta anos sobre o 25 de Abril de 1974, importa revisitar, com distância crítica, o trabalho criativo de Lucien Donnat, mestre cenógrafo, figurinista e decorador. A exposição que agora se apresenta ao público é constituída por dois núcleos e por uma monografia/ catálogo, memória futura deste projeto. No MNT apresenta-se um percurso cronológico da obra de Lucien Donnat para teatro, cobrindo o período entre 1941 e 1974. No TNDM II destaca-se uma produção em particular: Antígona, de Júlio Dantas, estreada em 1946, com cenários e figurinos de Lucien Donnat. Ainda no TNDM II dá-se conta do trabalho de Donnat para espaços públicos, em particular os hotéis. Vítor Pavão dos Santos é o curador para teatro e Rui Afonso Santos o curador para decoração em espaços públicos. Para esta monografia encomendou-se um ensaio a Eunice Azevedo que escreve uma nota biográfica do artista, revelando aspetos menos conhecidos da sua vida. Por sua vez, Margarida Acciaiuoli contextualiza o Portugal contemporâneo de Lucien Donnat. Procurámos ainda sistematizar, para o período em referência (1941-1974), todas as produções teatrais que contaram com a intervenção de Donnat, assinalando contudo o seu último trabalho para teatro, já em 1994. Cumpre-me agradecer à família do Mestre Lucien Donnat a total disponibilidade que demonstrou para com a equipa do Teatro Nacional. Agradeço, em especial, a Cláudia Villa-Lobos a generosidade com que nos acolheu. Jacqueline Ariè foi uma guia incansável e determinada. Sem o auxílio de ambas, muito do que agora mostramos ao público teria ficado por revelar. © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 9 13/01/14 22:30 LUCIEN DONNAT A exposição e monografia dedicadas ao Mestre Lucien Donnat socorre-se essencialmente das obras da coleção do Museu Nacional do Teatro. Agradeço ao seu diretor José Carlos Alvarez a liberdade que nos concedeu para trabalharmos o espólio doado pelo artista. Agradeço também a cedência da galeria de exposições temporárias do Museu para a realização de um dos núcleos da exposição. Graças à INCM, com a qual o TNDM II celebrou um protocolo de colaboração, podemos trazer ao público esta monografia/catálogo que esperemos se torne uma referência no estudo da obra do artista. Agradeço à INCM a forma como nos acolheu e que nos permite publicar Lucien Donnat: Um Criador Rigoroso. Uma palavra de agradecimento também para os hotéis que connosco colaboraram: Hotel Avenida Palace, Palácio Estoril Hotel, Hotel Ritz e Hotel da Lapa. Por fim, agradeço aos curadores, autores, designer, fotógrafo e a todos os que trabalharam na equipa liderada pelo profissionalismo e determinação de Cristina Faria. Este é o tempo da História. E quem está em palco é a Memória do Teatro. Que suba então o pano. Em memória do Mestre Lucien Donnat. Carlos Vargas Presidente do Conselho de Administração do Teatro Nacional D. Maria II 10 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 10 13/01/14 22:30 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 11 13/01/14 22:30 © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 12 13/01/14 22:30 UM TEATRO CHAMADO LISBOA Margarida Acciaiuoli * Habitualmente, as cidades, ainda que de teatros se tratem, não são olhadas dessa maneira. E, no entanto, também elas têm os seus palcos, onde se representam autênticas peças que são encenadas e montadas, de acordo com as leituras que se fazem dos acontecimentos. A Lisboa que Lucien Donnat encontra, quando chega a Portugal, é uma cidade mobilizada pelos preparativos das comemorações que, em 1940, deveriam assinalar a passagem do duplo centenário da Fundação e Restauração da Independência do País. O programa dessas celebrações tinha sido apresentado por Salazar em março de 1938 e dele constava, para além das múltiplas iniciativas que teriam lugar em todo o território nacional, a realização de uma grande exposição na capital sobre o «Mundo Português» 1. O local escolhido tinha sido Belém, mais precisamente os terrenos ainda vagos da Junqueira, e a conceção da mostra ficara a cargo de Cottinelli Telmo, um arquiteto visionário que era também cineasta e que realizara o celebrado filme A Canção de Lisboa (1933). Mas ainda que admitamos que o local era o mais indicado para fazer essa exposição, ou seja, ainda que reconheçamos que a zona oferecia condições únicas para se erigir uma autêntica «cidade da História» de Portugal, o fervor celebrativo que era responsável por 13 essa iniciativa não podia, necessariamente, circunscrever-se a esse palco. Aquilo a que na altura se chamou o «espírito realizador da raça», o sentido dos exemplos que se importavam do passado e a sua apropriação no novo quadro de referências que o Estado Novo trazia, não se poderia limitar apenas a um espaço. Era preciso montar outros palcos onde se conseguisse representar outras peças que dessem uma mais ampla dimensão ao espetáculo de Belém. Só assim seria possível corresponder ao desafio das comemorações e aproveitar o comboio da História para nele fazer entrar o presente. Naturalmente que essa tarefa tinha as suas contradições. Os tempos que se viviam não eram propícios a grandes realizações, a Guerra que assolava a Europa ensombrava os horizontes, as dificuldades eram inumeráveis e aumentavam todos os dias, e, mesmo que se tivesse circunscrito as celebrações nacionais a uma «festa de família» 2, a verdade é que a sua lógica produzia um ambiente de ficção, de desafio ou de negação. Contra a destruição que começava a arrasar a Europa, Lisboa estava decidida a erigir as suas construções e excedia-se não só ao nível dos projetos mas também das concretizações. Melhoravam-se as ruas, apressavam-se os restauros dos monumentos, com demolições que deveriam favorecer as perspetivas panorâmicas de alguns desses edifícios, iniciavam-se os trabalhos de conservação no Teatro Nacional de S. Carlos, ampliava-se o Museu de Arte Antiga, fazia-se o arranjo urbanístico da zona do palácio da Assembleia Nacional, e a «sementeira de energias» que a exposição de Belém pretendia ser espalhava os seus frutos por toda a cidade. Construiu-se a Fonte Monumental, na Alameda de D. Afonso Henriques, como remate do recente desenvolvimento urbano onde o Instituto Superior Técnico pontificava, rasgaram-se < Retrato de Lucien Donnat Início da década de 1940 Col. ITD © DISTRIBUIÇÃO GRATUITA. NÃO É PERMITIDA A COMERCIALIZAÇÃO. Livro Lucien Donnat.indd 13 13/01/14 22:30 LUCIEN DONNAT grandes vias de acesso à capital, acabou-se o arranjo do Parque Florestal de Monsanto, com a arborização da Encosta da Ajuda, planificou-se o Estádio Nacional e aprovou-se a construção do Aeroporto de Lisboa.
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