Mais e mais perto de nós: imagens e personificações da mulher negra no teatro brasileiro dos anos 1940 a 2008, no contexto da experiência cênica e do ativismo das mulheres negras segundo Sortilégio I, Sortilégio II e Sete Ventos
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Data
2019-07-27
Autores
Silva, Josefa Rouse da [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Partiremos neste trabalho do confronto entre três obras, distantes no tempo, mas próximas quanto ao tema da valorização do ser negra, Sortilégio I e II (ambas dramaturgias criadas por Abdias do Nascimento, no bojo do Teatro Experimental do Negro) e Sete Ventos (de Débora Almeida, autora da dramaturgia e da encenação). As três criações serão empregadas para tratar da representação da mulher negra no teatro feito por negros no Brasil, observando como a cena pode colaborar para a valorização da mulher negra. Na primeira dupla de obras, debruçar-nos-emos em especial nas personagens femininas (Ifigênia, as Ialorixás e o coro de mulheres) escritas por Abdias do Nascimento, enquanto que na segunda, trataremos da construção autoral de um espetáculo escrito e encenado por uma mulher negra, a partir dos relatos de mulheres reais e ficcionais. No arco histórico desenhado pelos casos em estudo, entram em pauta as diferenças entre os dois contextos, no Brasil dos anos 1940/50 e 2008, assim como o surgimento e disseminação de temas referentes às lutas das mulheres negras no Brasil, entre eles, o feminismo interseccional, a religiosidade transposta para o discurso teatral, a corporeidade, a afetividade e o lugar de fala das mulheres negras no teatro nacional moderno e contemporâneo. A pesquisa desdobra-se a partir de revisão bibliográfica, análise de fontes audiovisuais e entrevista, com a finalidade de encontrar modalidades de representação da mulher negra no teatro que atravessem os estereótipos dominantes e resistam aos processos de negação de si vividos por elas, valorizando sua subjetivação por meio da cena.
We leave this job of confrontation between two works, far away in time, but close as the theme to the appreciation of the black Spell, I and II (both stage writing created by Abdias do Nascimento on the belly of the “Theater Experimental of the Negro”) and Seven (Winds of Deborah Almeida, through the dramaturgy and staging). All three creations are employed to take care of black women's representation in the theater made by blacks in Brazil, observing how the scene can collaborate for the exploitation of black women. In the first couple of works, we will focus in particular on female characters (Iphigenia, the Ialorixás and the choir of women) written by Abdias do Nascimento, while in the second, we will handle the construction of copyright a show written by a woman Black, from the reports of real and fictional women. In the historic arch designed by cases study comes into the tariff differences between the two contexts, in Brazil the years 1940/50 and 2008, as well as the emergence and spread of topics related to black women in Brazil fights, intersectional feminism, religiosity transposed into theatrical speech, corporality and affection of the black woman and the place of black women speaking in modern and contemporary national theatre. The research unfolds from the literature review, analysis, interview and audiovisual sources for the purpose of finding mode of representation of women in the theater through the dominant stereotypes and resist denial of processes you experienced in particular by black, valuing your subjectivation through the scene.
We leave this job of confrontation between two works, far away in time, but close as the theme to the appreciation of the black Spell, I and II (both stage writing created by Abdias do Nascimento on the belly of the “Theater Experimental of the Negro”) and Seven (Winds of Deborah Almeida, through the dramaturgy and staging). All three creations are employed to take care of black women's representation in the theater made by blacks in Brazil, observing how the scene can collaborate for the exploitation of black women. In the first couple of works, we will focus in particular on female characters (Iphigenia, the Ialorixás and the choir of women) written by Abdias do Nascimento, while in the second, we will handle the construction of copyright a show written by a woman Black, from the reports of real and fictional women. In the historic arch designed by cases study comes into the tariff differences between the two contexts, in Brazil the years 1940/50 and 2008, as well as the emergence and spread of topics related to black women in Brazil fights, intersectional feminism, religiosity transposed into theatrical speech, corporality and affection of the black woman and the place of black women speaking in modern and contemporary national theatre. The research unfolds from the literature review, analysis, interview and audiovisual sources for the purpose of finding mode of representation of women in the theater through the dominant stereotypes and resist denial of processes you experienced in particular by black, valuing your subjectivation through the scene.
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Representação teatral, Teatro brasileiro, Feminismo e arte, Arte negra, Teatro e sociedade