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A Angústia Na Obra De Ingmar Bergman: Sarabanda Em Ser E Tempo De Martin Heidegger

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A Angústia Na Obra De Ingmar Bergman: Sarabanda Em Ser E Tempo De Martin Heidegger UNIVERSIDADE PRESBITERIANA MACKENZIE JOSÉ LUIZ DE CAMPOS CASTEJÓN BRANCO A ANGÚSTIA NA OBRA DE INGMAR BERGMAN: SARABANDA EM SER E TEMPO DE MARTIN HEIDEGGER São Paulo 2009 JOSÉ LUIZ DE CAMPOS CASTEJÓN BRANCO A ANGÚSTIA NA OBRA DE INGMAR BERGMAN: SARABANDA EM SER E TEMPO DE MARTIN HEIDEGGER Dissertação apresentada ao Programa de Pós- Graduação em Educação, Arte e História da Cultura da Universidade Presbiteriana Mackenzie, como requisito parcial à obtenção do título de Mestre em Educação, Arte e História da Cultura. Orientadora: Profª. Drª. Regina Célia Faria Amaro Giora São Paulo 2009 B816a Branco, José Luiz de Campos Castejón. A angústia na obra de Ingmar Bergman: Sarabanda em Ser e Tempo de Martin Heidegger / José Luiz de Campos Castejón – 2009. 173 f. : il. ; 30 cm. Dissertação (Mestrado em Educação, Arte e História da Cultura) – Universidade Presbiteriana Mackenzie, São Paulo, 2009. Orientadora: Profª. Drª. Regina Célia Faria Amaro Giora Bibliografia: f. 151 - 158. 1. Angústia. 2. Condição humana. 3. Estruturas ontológicas. 4. Fenomenologia. 5. Manifestações ônticas. I. Título. CDD 791.4309 JOSÉ LUIZ DE CAMPOS CASTEJÓN BRANCO A ANGÚSTIA NA OBRA DE INGMAR BERGMAN: SARABANDA EM SER E TEMPO DE MARTIN HEIDEGGER Dissertação apresentada à Universidade Presbiteriana Mackenzie como requisito parcial para a obtenção do título de Mestre em Educação, Arte e História da Cultura. Orientadora: Profª. Drª. Regina Célia Faria Amaro Giora Aprovado em BANCA EXAMINADORA Profª. Drª. Regina Célia Faria Amaro Giora - Orientadora Universidade Presbiteriana Mackenzie Prof. Dr. Orlando Bruno Linhares Universidade Presbiteriana Mackenzie Profª. Drª. Cleusa Kazue Sakamoto Universidade de São Paulo - USP Certa noite, meu filho, quando eu tentava fazê-lo adormecer, pediu-me que lhe contasse uma história. Quando terminei, seus olhos semicerrados ainda resistiam ao sono, foi então que ouvi suas incríveis palavras: „Pai, você nunca vai parar de ficar vivo, não é?‟. Na penumbra do seu quarto, emudeci. Para meu alívio ele fechou as pálpebras e dormiu. Este trabalho é especialmente dedicado a ele. AGRADECIMENTOS À minha orientadora Professora Doutora Regina Célia Faria Amaro Giora, pela oportunidade de freqüentar suas aulas para a realização do meu estágio acadêmico, pela disponibilidade nas minhas orientações semanais e, especialmente, por ter acreditado na autenticidade do meu projeto. À Professora Doutora Cleusa Kazue Sakamoto, pela forma afetuosa como me acolheu desde o primeiro momento e pelas sugestões esclarecedoras na banca de qualificação. À Professora Doutora Marcia Angelita Tiburi, pelas críticas construtivas para o prosseguimento do meu trabalho. À existência de um realizador fantástico, o sueco Ingmar Bergman, cuja aparição se deu, para mim, pela primeira vez em 1978, no saudoso e extinto Cine Bijou, centro de São Paulo, com a exibição do filme „Face a Face‟. Alguém, quase do outro lado do planeta, compartilhava comigo um universo de tamanha intimidade e esperança. No início dos anos 80, participei pela primeira vez, de um curso de leitura do „Ser e Tempo‟ de Martin Heidegger, na Associação Brasileira de Daseinsanalyse, com o psicólogo e professor da PUC de São Paulo, João Augusto Pompéia. Foi um privilégio assistí-lo, suas aulas proporcionaram alento e claridade, registros que jamais serão esquecidos. No meio de tantas e honradas referências aqui mencionadas, quero salientar o nome da psicóloga e professora Elsa Oliveira Dias. Também na década de 80, participei de um grupo de estudos sobre sua tese de mestrado realizado na PUC de São Paulo, no qual propunha um diálogo entre o pensador alemão Martin Heidegger e o escritor brasileiro João Guimarães Rosa. Ao doutor Chafi Abduch, que se transformou em um psicólogo bastante original, abriu meus olhos muitas vezes, e sou tão grato por isso. Ao amável psicólogo e renomado professor da PUC de São Paulo, Nichan Dichtchekenian, cuja presença sempre me proporcionou intensa aproximação, profundidade e afeto. Agradeço também a oportunidade de acompanhá-lo na PUC, durante alguns anos em suas aulas de Fenomenologia. À saudosa Professora Doutora Carmen Lúcia Souza, nos tempos de faculdade, estimulou-me a escrever um diário muito particular, com quem compartilhei um universo de inquietações. À Mi Ah Kim, pela simpatia e amabilidade. À Maria Aparecida da Silva Monteiro, pela força e disponibilidade nestes anos todos. Ao Felipe Loberto, cujos encontros me foram indispensáveis. Ao Carlos Rogério Duarte Barreiros, por sua colaboração entusiasmada na primeira revisão do texto. Ao meu pai Luiz Carlos, minha mãe Maria Eunice, meu irmão Antonio Carlos, meu avô Herculano, minha avó Florinda, minha tia Neusa Terezinha, primos Luciano Luís, Marco Aurélio e seus pais, primeiros personagens dos primeiros anos. Alguns já se foram, então, pude aprender com eles (com a falta deles), sobre a difícil lição da perda. À tia Nica e tio Alfredo, lá de Taiúva, pela preocupação e afeto constantes, estarão sempre vivos na minha memória. À Elvira Barreiros, por ter proporcionado estabilidade para o prosseguimento de meu trabalho. Aos estimados amigos do consultório, pela compreensão diante de meu afastamento nessa fase de minha vida acadêmica. Aos novos amigos do mestrado: Angelino, Grace, João, Lídia e Raphael, vida longa para vocês todos! Agradeço de coração minha nova amiga Daniella Basso Batista Pinto, não apenas pela cuidadosa e trabalhosa revisão final do texto, sobretudo, por seu empenho sempre espontâneo em querer me ajudar. Pelo amor que recebo da Henriqueta do Céu, minha mulher e mãe do Henrique. Ao Coragem, que sempre esteve do meu lado. À coordenação e ao corpo docente do Programa de Mestrado em Educação, Arte e História da Cultura, pelo constante esforço no difícil campo interdisciplinar e por ampliar meus horizontes. À Universidade Presbiteriana Mackenzie que, por intermédio do MackPesquisa, viabilizou recursos de apoio à minha pesquisa. À Bolsa Capes que, em parceria com a Universidade Presbiteriana Mackenzie, possibilitou um semestre de estudo isento da mensalidade. Minhas honrosas saudações! O único gesto que é definitivamente interessante, é influenciar, estabelecer um contato, comunicar, enfiar um prego na passividade e na indiferença das pessoas. Ingmar Bergman Nenhuma época soube tantas e tão diversas coisas do homem como a nossa. Mas em verdade, nunca se soube menos o que é o homem. Martin Heidegger Todo homem nasce como muitos homens e morre de forma única. Martin Heidegger A angústia é fala entupida. Ana Cristina Cesar RESUMO O presente estudo procurou discutir o conceito de angústia de forma ampla e não apenas como habitualmente se considera, isto é, como estreitamento da liberdade humana ou como comportamento mórbido a ser removido. Existem outras formas de expressão da angústia, a partir de uma dimensão estrutural ontológica fundamental, peculiar ao homem. Procurou-se assim, avaliar qualitativamente as implicações provocadas pela angústia, por meio da análise do filme “Sarabanda” - 2003, de Ingmar Bergman, segundo a Analítica Existencial de Martin Heidegger. Para tanto, os personagens foram interpretados considerando-se as estruturas essenciais da existência humana, pois a angústia se relaciona com elas intrinsecamente. Verificou- se, diante dos cinco personagens analisados (Marianne, Johan, Karin, Henrik e Martha), que apenas duas (Marianne e Karin), puderam experimentar o que foi denominado como angústia existencial, ao contrário das vivências de Johan, Henrik e Martha, denominadas como angústia patológica, guardadas as diferenças individuais. Palavras-chave: angústia, condição humana, estruturas ontológicas, fenomenologia, manifestações ônticas. RESUMEN Este estudio trató de examinar el concepto de la angustia de manera amplia y no sólo ser considerado como normal, es decir, lo más cerca posible de la libertad humana o de comportamiento poco saludables y deben ser eliminados. Hay otras formas de expresión de angustia de una dimensión estructural fundamental ontológica, peculiar al hombre. Por lo tanto, es cualitativamente evaluar las repercusiones causadas por la ansiedad, mediante el análisis de la película "Sarabande" - 2003, Ingmar Bergman, según la analítica existencial de Martin Heidegger. Por tanto, los personajes fueron interpretados teniendo en cuenta las estructuras esenciales de la existencia humana, porque la angustia se relaciona con ellos sí. Que se encontraba antes de los cinco caracteres examinados (Marianne y Johan, Karin, Henrik y Martha), sólo dos (Marianne y Karin), podría intentar lo que se refiere a la angustia existencial, en contraste con la experiencia de Johan, Henrik y Martha , a que se refiere como la angustia patológica, salvado las diferencias individuales. Palabras-clave: angustia, condición humana, las estructuras ontológicas, la fenomenología, manifestaciones ónticas. LISTA DE IMAGENS Imagem 1 Pintura de Fernando Botero.................................................. 43 Imagem 2 Cartaz do filme Sarabanda................................................... 49 Imagem 3 Marianne (Liv Ullmann)......................................................... 50 Imagem 4 Johan (Erland Josephson) com a ex-mulher Marianne........ 65 Imagem 5 Johan e Marianne................................................................. 67 Imagem 6 Johan e Marianne................................................................. 68 Imagem 7 Karin (Julia Dufvenius).......................................................... 81 Imagem 8 Karin.....................................................................................
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