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Marco Antonio Ramos Borneo De Abreu (Paco Abreu) UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÃO E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS Marco Antonio Ramos Borneo de Abreu (Paco Abreu) SER PEDAGOGO Reflexões provocadas em diálogo com a Escola Russa de pedagogia teatral São Paulo 2020 Marco Antonio Ramos Borneo de Abreu (Paco Abreu) SER PEDAGOGO Reflexões provocadas em diálogo com a Escola Russa de pedagogia teatral 2 Tese apresentada ao Programa de Pós-Graduação em Artes Cênicas da Escola de Comunicações e Artes da Universidade de São Paulo como requisito para obtenção do título de Doutor em Artes Cênicas Área de Concentração: Pedagogia do Teatro Orientadora: Prof.ª Drª Maria Thais Lima Santos São Paulo 2020 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. 3 CATALOGAÇÃO NA PUBLICAÇÃO SERVIÇO DE BIBLIOTECA E DOCUMENTAÇÃO ESCOLA DE COMINICAÇÃO DE ARTES DA UNIVERSIDADE DE SÃO PAULO DADOS INSERIDOS PELO AUTOR ABREU , MARCO ANTONIO RAMOS BORNEO DE (PACO ABREU) Ser Pedagogo –Reflexão provocadas em diálogo com a Escola Russa de pedagogia teatral Marco Antonio Ramos Borneo de Abreu ; orientadora, Maria Thais Lima Santos. -- São Paulo, 2020. 198 p.:. Tese (doutorado) - Programa de Pós-Graduação em Artes Cênicas - Escola de Comunicações e Artes / Universidade de São Paulo. 1.STANISLÁVSKI 2. PEDAGOGIA TEATRAL 3. TEATRO RUSSO 4. FORMAÇÃO TEATRAL 5.DIRETOR-PEDAGAOGO 4 Nome: ABREU, Marco Antonio R.B. Título: SER PEDAGOGO - Reflexões provocadas em diálogo com a Escola Russa de pedagogia teatral Tese apresentada ao Programa de Pós-Graduação em Artes Cênicas da Escola de Comunicações e Artes da Universidade de São Paulo como requisito para obtenção do título de Doutor em Artes Cênicas Área de Concentração: Pedagogia do Teatro Aprovado em: BANCA EXAMINADORA Prof. Dr. ____________________________________________________ Instituição: ____________________________________________________ Julgamento: ____________________________________________________ Prof. Dr. ____________________________________________________ Instituição: ____________________________________________________ Julgamento: ____________________________________________________ Prof. Dr. ____________________________________________________ Instituição: ____________________________________________________ Julgamento: ____________________________________________________ Prof. Dr. ____________________________________________________ Instituição: ____________________________________________________ Julgamento: ____________________________________________________ Prof. Dr. ____________________________________________________ Instituição: ____________________________________________________ Julgamento: ____________________________________________________ 5 Agradecimentos À Maria Thaís Lima Santos, por que ela foi a parteira atenciosa de todo o caminho desta pesquisa. Seu comprometimento na reestruturação do projeto de pesquisa, sua leitura atenta, precisa sobre como avançar são fruto de enorme generosidade e afeto para com os seus orientandos. À Claudia Ramos e Raul Strattner por me receberem no Rio de Janeiro com tanto afeto e atenção em inúmeras imersões para a escrita desta pesquisa. À minha mãe pelas noites, em que para descansar de escrever por doze horas, me recebia em sua casa no bairro do Flamengo no Rio de Janeiro para conversas, lanches e aconchegos. À Elena Vássina por tantas contribuições a esta pesquisa. À Jose Batista Dal Farra pela contribuição cirúrgica e afetuosa no exame de qualificação. À Cia. Teatro da Cidade por proporcionar a vinda de Alejandro González Puche para a Imersão Tchékhov e, em especial, à Claudio Mendel e Andreia Barros. Aos atores da Imersão Tchékhov: Andréia Barros, Andressa Capucci, Bruna Corrêa, Cristiana Menegasso, Graciene Pires, Jéssica Lane, Josivan Costa, Marco Antonio Barreto, Miltinho Toledo, Paco Abreu, Simone Sobreda e Yaska Andrade. Pela parceria e por sermos cúmplices de acontecimento tão marcante em minha vida. À Luah Guimarães e Luciana Canton por me apresentarem suas revisoras em momento de tamanha necessidade para a conclusão desta pesquisa. 6 À todas as minhas professoras e professores, minhas alunas e alunos, Em memória de Nissim Castiel por levar o Teatro Escola Macunáima a novas gerações, A Débora Hummel, minha professora de ser professor, Ao Teatro Escola Macunaíma, por ser a casa desta pesquisa e por ter apoiado e dado suporte para que esta tese pudesse ser concluída, e a todos os pedagogos de ontem, hoje e sempre. 7 Resumo A pesquisa Ser pedagogo - reflexões provocadas em diálogo com a Escola Russa de pedagogia teatral busca examinar a tarefa do pedagogo teatral a partir da investigação de elementos presentes na Escola Russa de pedagogia teatral e que se constituem como traços de hereditariedade, na medida em que permanecem como elementos constantes, ainda que em tensão, no trabalho de diferentes pedagogos formados por esta Escola. PALAVRAS-CHAVE: Stanislávski. Pedagogia Teatral. Teatro Russo. Formação do Ator. Diretor-pedagogo. Abstract The research Being a Pedagogue – reflections provoked in dialogue with the Russian School of theatrical pedagogue seeks to go over the task of the theatrical pedagogue from the investigation of the elements of the Russian School of Tratical Pedagogy that iit is constituted as traces of heridity, as far as they keep as constant elements, even if in tension, in the work of diferente pedagogues formed byn this school. KEY WORDS: Stanislávski. Theatrical Pedagogy. Russian Theatre. Formation of the actor. Diretor-pedagogue. 8 Sumário Introdução .............................................................................................................. 11 Capítulo 1 - A raiz stanislávskiana: do ser ator, ao ser diretor, ao ser pedagogo ....... 16 1.1 Sínteses provisórias ................................................................................................... 16 1.2 Stanislávski-ator ........................................................................................................ 19 1.3 Stanislávski – do diretor ao pedagogo ....................................................................... 26 1.4 O Sistema de Stanislávski: processo de uma vida ....................................................... 40 Capítulo 2 - Jurij Alschitz: diálogos possíveis entre pedagogia, arte e ciência ........... 46 2.1 Jurij Alschitz: parcelas de sua trajetória ..................................................................... 46 2.2 Em busca de uma alta pedagogia ............................................................................... 48 2.3 Imersões Teatro Escola Macunaíma ........................................................................... 52 2.4 Ritual, ensemble, ética e energia em Alschitz ............................................................. 53 2.5 Interfaces entre arte e ciência ................................................................................... 59 Capítulo 3 - Serguei Zemtsov, professor do ator no treinamento e formação a partir do Sistema de Stanislávski. ...................................................................................... 63 3.1 Serguei Zemtsov - Professor do ator .......................................................................... 63 3.2 Treinamento no Sistema de Stanislávski .................................................................... 65 3.3 O trabalho de Serguei Zemtsov com Études ............................................................... 73 3.4 A gaivota de Anton Tchékhov em análise ................................................................. 78 3.5 Étude: síntese provisória e contínua de experiências ................................................. 84 Capítulo 4 - Alejandro González Puche e o ator pedagogo ....................................... 88 4.1 Afetos biográficos. Singularidades da constituição de um pedagogo teatral .............. 88 4.2 – A Análise Ativa segundo Alejandro González Puche ................................................ 93 4.3 As três irmãs, de Anton Tchékhov, em Análise ........................................................... 96 4.4 A Análise Ativa conduzida por Alejandro González Puche na Residência Artística – Imersão Tchékhov .......................................................................................................... 100 Capitulo 5 - Nair D’Agostini e o Método de Análise Ativa: do treinamento aos études .................................................................................................................... 107 5.1 Nair D’Agostini: entre seus professores e alunos ...................................................... 107 5.2 Encontros com Nair D’Agostini ................................................................................. 111 9 5.2.1 Studio das Artes: Oficina Análise Ativa (2003) ........................................................ 111 5.2.2 Primeiro Encontro de Nair D’Agostini com os professores do Teatro Escola Macunaíma (2004) ........................................................................................................... 112 5.2.3 Palestra “Análise Ativa”, de Nair D’Agostini e Michele Zaltron na Semana de Planejamento do Teatro Escola Macunaíma (2016) ........................................................ 113 5.2.4 Oficina “Análise Ativa através de études” – Seminário Stanislávski – Ano II – UNIRIO (2018) ..............................................................................................................................
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