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Lucrécia Borgia: Um Drama No Oceano De Victor Hugo

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Lucrécia Borgia: Um Drama No Oceano De Victor Hugo 1 LUCRÉCIA BORGIA : UM DRAMA NO OCEANO DE VITOR HUGO v.1 GISELLE MOLON CECCHINI Porto Alegre agosto 2009 2 PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO GRANDE DO SUL FACULDADE DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS LUCRÉCIA BORGIA: UM DRAMA NO OCEANO DE VICTOR HUGO Dissertação apresentada como requisito parcial para obtenção do grau de Mestre em Letras, área de concentração Teoria da Literatura pelo Programa de Pós-Graduação da Faculdade de Letras da Pontifícia Universidade Católica do Rio Grande do Sul. GISELLE MOLON CECCHINI Prof. Dra. Ana Maria Lisboa de Mello Orientadora Data de defesa: 31/08/2009 Instituição depositária: Biblioteca Central Irmão José Otão Pontifícia Universidade Católica do Rio Grande do Sul Porto Alegre 2009 3 Dedico esta dissertação a Prof. Dra. Regina Zilberman Dedico esta dissertação a Deus, a José, Gabriel e Miguel. 4 AGRADECIMENTOS Ao CNPq; Ao Programa de Pós-Graduação em Letras da Pontifícia Universidade Católica; À Prof. Dra. Ana Maria Lisboa de Mello, pelo seu generoso acolhimento e orientação; Aos Professores do Mestrado em Letras da PUC-RS; Aos Professores do Departamento de Arte Dramática da Universidade Federal do Rio Grande do Sul, especialmente os mestres: Carmem Lenora Martins, Ivo Bender, Maria da Graça Barcellos Ferreira, Sandra Dani; À Prof. Dra. Maria Thais Lima Santos, por tudo; À Prof. Dra. Patrícia C. Ramos Reuillard; Ao Germano Weirich; À Adriana Bayer; À Isabel e Mara; Aos atores que suaram e viajaram comigo; Ao meu pai e minha mãe, Luiz e Dilva. 5 RESUMO Esta dissertação apresenta um estudo descritivo e crítico do drama histórico Lucrécia Borgia, de Victor Hugo, à luz de teorias desenvolvidas por Anne Ubersfeld, Patrice Pavis, Constantin Stanislavski, Grotowski, Pierre Albouy, Jurij Alschitz. Escrita sob a perspectiva do ator, a dissertação objetiva evidenciar que, a partir da leitura do texto dramático, com o conhecimento dos signos cênicos, os temas presentes na obra emergem, produzindo novos sentidos. Eles constituem as potencialidades contidas no texto. A obra de Victor Hugo é compreendida pelo escritor como um “todo indivisível”. Por isso, a pesquisa abrange a história de vida e a obra de Hugo, fatores fundamentais para se realizar o cotejo com Lucrécia Borgia e para efetivar a tradução do drama histórico, escrito originalmente em língua francesa. PALAVRAS-CHAVE: Drama. Teatro. Victor Hugo. Lucrécia Borgia. Estudo descritivo e crítico. 6 RÉSUMÉ Ce mémoire présente une étude descriptive et critique du drame historique Lucrèce Borgia, de Victor Hugo, s‟appuyant sur des théories développées par Anne Ubersfeld, Patrice Pavis, Constantin Stanislavski, Grotowski, Pierre Albouy, Jurij Alschitz. Écrit sous l‟angle de l‟acteur, le mémoire a pour but de mettre en évidence que, à partir de la lecture du texte dramatique et de la connaissance des signes scéniques, les thèmes présents dans l‟œuvre émergent et produisent de nouveaux sens, qui constituent les potentialités contenues dans le texte. L‟œuvre de Victor Hugo est considéré par l‟auteur comme un « tout indivisible », alors la recherche comprend l‟histoire de la vie et de l‟œuvre de Hugo, des facteurs fondamentaux pour en faire la comparaison avec Lucrèce Borgia et pour effectuer la traduction du drame historique, originalement écrit en langue française. MOTS-CLÉS : Drame. Théâtre. Victor Hugo. Lucrèce Borgia. Étude descriptive et critique. 7 SUMÁRIO 1 CONSIDERAÇÕES INICIAIS: “IN PRINCIPIO”................................................. 08 2 PREFÁCIO – DIÁLOGOS ENTRE O TEXTO, A CENA, O ATOR/A ATRIZ, 14 A PERSONAGEM E O ESPECTADOR.................................................................. 3 ATO I - VICTOR HUGO, O HOMEM OCEANO................................................. 43 3.1 Primeira parte: O exílio................................................................................................ 46 3.2 Segunda parte: O retorno a Paris.................................................................................. 68 3.3 Terceira parte: O eu fraturado...................................................................................... 72 3.4 Quarta parte: o projeto dramático de Victor Hugo....................................................... 93 4 ATO II – LUCRÉCIA BÓRGIA: UM CAMINHO POSSÍVEL.............................. 122 4.1 Um fragmento: ato II, parte I, cenas 2 e 3.................................................................. 127 4.2 Afronta sobre afronta: Veneza...................................................................................... 131 4.3 Ferrara: Os venenos que transpiram através dos muros............................................... 145 4.4 A dupla: O percurso da vingança................................................................................. 151 4.5 Comédia pura................................................................................................................ 158 4.6 Embriagados mortos..................................................................................................... 161 4.7 A energia dos encontros............................................................................................... 172 5 CONSIDERAÇÕES FINAIS: PÉROLAS NO INFINITO.................................... 177 REFERÊNCIAS.................................................................................................................... 184 CURRICULUM LATTES...................................................................................................... 191 APÊNDICE A – ATO III A TRADUÇÃO DO DRAMA LUCRÉCIA BORGIA............................. 000 8 1 CONSIDERAÇÕES INICIAIS: IN PRINCIPIO Almejo abrir o básico texto E transpor o Sagrado Original, Com sentimento reverente e honesto Pra meu amado idioma natal. Escrito está: “Era no princípio o Verbo!” Já paro e me critico, acerbo! Como hei de ao verbo dar tão alto apreço? De outra interpretação careço; Se pelo espírito ora estou movido, Escrito está: No início era o Sentido! Pesa a linha inicial com calma plena, Não se apressure a tua pena! É o sentido então que tudo opera e cria? Deverá opor: No início era a Energia! Mas, já, enquanto assim o retifico, Diz-me algo que tão pouco nisso fico. O espírito me ajuda! E vendo a direção, Sereno escrevo: Era no início a Ação! 1 “In principio erat verbum”, diz o evangelista São João no Novo Testamento. Fausto, personagem de Goethe, traduz verbum por verbo, sentido, energia e, por fim, ação. O início desse versículo e sua transposição ficcional nos inspiram para outro princípio, a razão de ser, a origem e o fim deste estudo: Lucrécia Borgia. “Almejando abrir o básico texto”, voltamos as buscas para o estudo do drama histórico Lucrécia Borgia, deparamo-nos com o autor Victor Hugo, sua vida, suas obras. Vendo-nos também frente à ausência do drama traduzido em português, sentimo-nos instigados a “transpor o sagrado original para nosso idioma natal”. Além das Considerações Iniciais e das Considerações Finais, intituladas, respectivamente, In princípio e Pérolas no oceano, o corpo da dissertação segue a estrutura básica do drama Lucrécia Borgia, proposto por Victor Hugo, na qual as partes são 1 GOETHE, Johann Wolfgang Von. Fausto. São Paulo: IPE, [1949], p. 79. 9 apresentadas da seguinte forma: prefácio: Diálogos entre o texto, a cena, o ator/a atriz, a personagem e o espectador; ato I, Victor Hugo, o homem oceano; ato II, Lucrécia Borgia: Um caminho possível, ato III, A tradução de Lucrécia Borgia. A dissertação se desenvolve sob a perspectiva do ator / da atriz. Partimos do entendimento de que a arte dramática é a arte da representação e que a cena, abrangendo todos os aspectos do fenômeno teatral, possui uma função representativa. O drama Lucrécia Borgia foi escrito para ser representado e é na cena que as personagens se encontram em ação dramática. Ação que se desenvolve em um lugar específico, com o seu cenário, iluminação, acessórios, figurinos, sons, música, atores. No entanto, de todos os signos cênicos, ressaltamos a figura do ator por ser, ele, o elemento imprescindível e responsável direto no acontecimento teatral. O ator/atriz encarna a máscara, presentifica uma figura, interpreta, atua, representa a personagem viva diante do espectador. Agente da ação na cena, o ator é, nesse momento, o leitor da obra, o agente dessa dissertação, aquele que assume o papel de expor, desenvolver e finalizar as suas idéias, mesmo antes de ir para o palco. Por ser o ator, manifestante do verbo, manancial de sentidos, gerador e transformador de energia, ser vivo responsável pelo desenrolar da ação na cena diante do público, optamos por uma abordagem que privilegia sua visão. Visão sobre seu papel como ator/autor, sobre a obra e o autor. Sabemos que a obra teatral não se realiza com uma leitura, e sim com a encenação. Todavia, é preciso ler o texto dramático e no percurso tentar visualizá-lo como que representado. Vemos com a imaginação, escutamos no silêncio a voz de Victor Hugo e a nossa própria voz, reconhecemos os “equivalentes” a serem trabalhados na representação, procuramos os sentidos, encontramos os temas, descobrimos diferentes elementos potenciais das personagens e recebemos a corrente de impulsos na sequência da ação. A energia transpassa do texto escrito para o ator. Mas a energia do teatro ultrapassa essa relação e por isso abrimos o diálogo introduzindo um prefácio. Estabelecido entre o texto, a cena, o ator e a personagem, o diálogo diz respeito à ficção, ao drama, mas quando a interação se apresenta sob o olhar do espectador, então estamos diante do teatro. No prefácio, abordamos
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