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Móin-Móin Revista De Estudos Sobre Teatro De Formas Animadas

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Móin-Móin Revista De Estudos Sobre Teatro De Formas Animadas MÓIN-MÓIN REVISTA DE ESTUDOS SOBRE TEATRO DE FORMAS ANIMADAS MÓIN-MÓIN REVISTA DE ESTUDOS SOBRE TEATRO DE FORMAS ANIMADAS Realização Sociedade Cultura Artística de Jaraguá do Sul – SCAR Universidade do Estado de Santa Catarina – UDESC Editores: Gilmar Antônio Moretti (SCAR) Prof. Dr. Valmor Níni Beltrame (UDESC) Conselho Editorial: Profa. Dra. Ana Maria Amaral Universidade de São Paulo (USP) Dra. Ana Pessoa Fundação Casa de Rui Barbosa (RJ) Profa. Dra. Amabilis de Jesus Faculdade de Artes do Paraná (FAP) Prof. Dr. Felisberto Sabino da Costa Universidade de São Paulo (USP) Profa. Dra. Izabela Brochado Universidade de Brasília (UNB) Profa. Ma. Izabel Concessa P. de A. Arrais Universidade Federal do Pernambuco (UFPE) Marcos Malafaia Giramundo Teatro de Bonecos (Belo Horizonte) Prof. Me. Miguel Vellinho Universidade Federal do Estado do Rio de Janeiro (UNIRIO) Prof. Dr. Paulo Balardim Universidade do Estado de Santa Catarina (UDESC) Prof. Dr. Tácito Borralho Universidade Federal do Maranhão (UFMA) Prof. Dr. Wagner Cintra Universidade Estadual Paulista (UNESP) TEATRO DE BONECOS – PATRIMÔNIO CULTURAL IMATERIAL Móin-Móin é uma publicação conjunta da Sociedade Cultura Artística de Jaraguá do Sul – SCAR e do Programa de Pós-Graduação em Teatro (Mestrado e Doutorado) da Universidade do Estado de Santa Catarina – UDESC. As opiniões expressas nos artigos são de inteira responsabilidade dos autores. A publicação de artigos, fotos e desenhos foi autorizada pelos responsáveis ou seus representantes. Editores: Gilmar Antônio Moretti – SCAR Prof. Dr. Valmor Níni Beltrame – UDESC Coordenação Editorial: João Chiodini (Design Editora) Estudantes Bolsistas: Antonio Cesar Maggioni, Giovana Luiza Ferreira Henckemaier Revisores Colaboradores: Alex de Souza, Isabella Irlandini, Paulo Balardim. Diagramação: Beatriz Sasse Capa: Personagens do Mamulengo. Imagem gentilmente cedida por Fernando Augusto Gonçalves Santos. Foto de Daniel Rozowykwiat. Página 3: Coleção de Bonecos (Luva-Madeira, mulungu monocromático). Mestre Tonho de Pombos. Pombos – PE. Exposição – SESI Bonecos do Brasil (2008). Joinville – SC. Foto de Chan. Acervo de Fernando Augusto Gonçalves Santos. Página 5: Conjunto de índios (Luva-Madeira, mulungu policromado). Mestre Luiz da Serra. Vitória de Sto. Antão – PE. Exposição – SESI Bonecos do Brasil (2008). Joinville – SC. Foto de Chan. Acervo de Fernando Augusto Gonçalves Santos. Página 6: Imagem gentilmente cedida pelo Festival Sesi Bonecos do Mundo. Foto de Dudu Schnaider. Página 7: Morte. Boneco de Mestre Tonho (Pombos – PE). Exposição - SESI Bonecos do Brasil (2008). Joinville – SC. Foto de Chan. Acervo de Fernando Augusto Gonçalves Santos. Móin – Móin: Revista de Estudos sobre Teatro de Formas Animadas. Jaraguá do Sul: SCAR/UDESC, ano 12, v. 15, junho, 2016. Periodicidade semestral v. 15, ano 11, Junho, 2016. ISSN 1809-1385 M712 1. Teatro de bonecos. 2. Teatro de máscaras. 3. Teatro de fantoches. CDD 792 SUMÁRIO MÓIN-MÓIN 15 TEATRO DE BONECOS - PATRIMÔNIO CULTURAL IMATERIAL Teatro de Bonecos – Patrimônio Cultural Imaterial: à guisa de apresentação Valmor Níni Beltrame e Gilmar Antônio Moretti, 11 Registro do Teatro de Bonecos Popular do Brasil como Patrimônio Imaterial – contexto e motivações iniciais. Humberto Braga, 16 O Processo do Registro do Teatro de Bonecos Popular do Nordeste do Brasil como Patrimônio Cultural do Brasil Izabela Brochado, 28 Northeastern Popular Puppet Theater - Mamulengo, Babau, João Redondo and Cassimiro Coco: an intangible Brazilian heritage Izabela Brochado, 44 Procedimentos de pesquisa, política e dissenso no registro do Teatro de Bonecos Popular do Nordeste como patrimônio cultural do Brasil Adriana Schneider, 55 A Brincadeira do Teatro de Bonecos no Rio Grande do Norte Graça Cavalcanti, 69 O Mamulengo em Brasília – O caso de um estudo de caso Kaise Helena, 84 Mas será o Benedito? Mudança e permanência no boneco popular André Carrico, 99 O Teatro de Bonecos Popular do Nordeste – Mamulengo, Babau, João Redondo e Cassimiro Coco – A salvaguarda de um Patrimônio Cultural do Brasil Rívia Ryker, 113 Nosso novo patrimônio cultural Valdeck de Garanhuns, 126 Polichinela, Arquetipo y mito Toni Rumbau, 128 Os pupi sicilianos: memória, tradição e inovação de um patrimônio artístico e cultural Ignazio Buttitta, 153 I pupi siciliani: memoria, tradizione e innovazione di un patrimonio artistico e culturale Ignazio Buttitta, 177 Bunraku – patrimônio cultural imaterial Yasuko Senda, 196 Bunraku – intangible cultural heritage Yasuko Senda, 210 500 anos de Karagöz Cengiz Özek, 220 500 Years of Karagöz Cengiz Özek, 234 Patrimônio não é peça de museu Dadi Pudunjee, 242 Heritage is not a museum piece Dadi Pudumjee, 249 Móin-Móin: o nome desta publicação é uma homenagem à marionetista Margarethe Schlünzen, que faleceu em agosto de 1978 e, durante as décadas de 1950 e 1960, encantou crianças de Jaraguá do Sul (Santa Catarina, Brasil) com suas apresentações. Era sempre recebida efusivamente nas escolas pelo coro guten Morgen, guten Morgen (“Bom dia, bom dia” em alemão). A expressão tornou o trabalho da marionetista conhecido como “Teatro da Móin-Móin”. Móin-Móin: the name of this publication is a tribute to the puppeteer Margarethe Schlünzen, who died in August 1978. During the 50’s and 60’s she enchanted children from Jaraguá do Sul (Santa Catarina, Brazil) with her puppet plays. When arrived at the schools she was always warmly welcomed by the chorus guten Morgen, guten Morgen (“Good morning, good morning” in German). The expression made the work of the puppeteer known as the “Móin-Móin Theatre”. Móin-Móin: le nom de cette publication est un hommage à la marionnetiste Margarethe Schlünzen, décédée au mois d´août 1978. Pendant les années 1950 et 1960 elle a émerveilée les enfants de la ville de Jaraguá do Sul (Santa Catarina, Brésil) avec ses spectacles. Elle était toujours accueillie avec enthousiasme dans les écoles où elle se présentait, les enfants lui disant en choeur guten Morgen, guten Morgen (“Bonjour, bonjour”, en allemand). C’est pourquoi le travail de la marionnettiste est connu comme “le Théâtre de la Móin-Móin”. Móin-Móin: el nombre de esta publicación es un homenaje a la titiritera Margarethe Schlünzen, que falleció en agosto de 1978 y, durante las décadas de 1950 y 1960, encantó a niños y niñas de Jaraguá do Sul (Santa Catarina – Brasil) con sus presentaciones. Era siempre recibida efusivamente en las escuelas por el coro guten Morgen, guten Morgen (“Buenos días, buenos días” en alemán). La expresión volvió el trabajo de la titiritera conocido como “Teatro de la Móin-Móin”. MÓIN-MÓIN 11 Teatro de Bonecos – patrimônio cultural imaterial: à guisa de apresentação A edição da Revista Móin-Móin n˚15 reúne textos em torno do tema: Teatro de Bonecos – patrimônio cultural imaterial. O grande motivador da organização deste número foi, sem dúvida, o registro do Teatro de Bonecos Popular do Nordeste – Mamulengo, Babau, João Redondo e Cassimiro Coco – como Patrimônio Cultural do Brasil, cujo reconhecimento se deu no mês de maio de 2015 junto ao IPHAN Animadas de Formas de Estudos sobre Revista Teatro – Instituto do Patrimônio Histórico e Artístico Nacional, órgão do Ministério da Cultura. O pedido de Registro e reconhecimento pela ABTB – Associação Brasileira de Teatro de Bonecos despertou sentimentos de orgulho, de curiosidade e dúvidas: quais os caminhos percorridos para a obtenção do Registro? Como preservar estas manifestações sem folclorizá-las? Como proceder para que os saberes produzidos nestas práticas não se cristalizem e “museifiquem”? Uma vez declaradas como patrimônio, como agir para que as atualizações e mudanças provocadas por seus artistas não sejam vistas como profanação destas manifestações tradicionais? Que iniciativas colaboram para a sua salvaguarda sem que sejam criadas relações de dependência com os poderes públicos? Para aprofundar as reflexões em torno deste relevante acontecimento, reunimos um conjunto de estudos aqui organizados em dois blocos, o que nos permite conhecer, de um lado, como se efetuou o Registro, suas etapas, as diferentes manifestações que se incluem no MÓIN-MÓIN 12 que se denomina Teatro de Bonecos Popular do Nordeste do Brasil; e de outro lado, expressões do Teatro de Bonecos de mais países, algumas delas reconhecidas pela UNESCO como Patrimônio Imaterial da Humanidade, a saber, o Teatro Karagöz (Turquia), a Ópera dei Pupi (Itália) e o Bunraku (Japão). No primeiro bloco, contamos com o texto de Humberto Braga, que nos apresenta o início do processo de Registro, as primeiras iniciativas e intenções realizadas por um pequeno grupo de pessoas junto à Associação Brasileira de Teatro de Bonecos para o reconhecimento do Mamulengo como Patrimônio Imaterial. O autor relembra o que na época, 2004, era um sonho e as articulações iniciais que se desencadearam para torná- lo realidade onze anos depois. Izabela Brochado, coordenadora geral da ação, relata como se deu o registro, detalhando as diferentes etapas, a abrangência com a inclusão de mais três manifestações teatrais no que se denomina Teatro de Bonecos Popular do Nordeste. É possível perceber, além do volume de trabalho, a agregação de pesquisadores, as estratégias de envolvimento de artistas, as exigências documentais e a constante necessidade de tomada de decisões no encaminhamento da solicitação de reconhecimento. Adriana Schneider contribui com um texto sobre como se deu s a pesquisa, seus procedimentos metodológicos mais significativos e recorrentes, a reunião da farta documentação, sobretudo a audiovisual, que alicerçou e deu
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