"Silêncio" em cena: o lugar da censura na dramaturgia e na acepção de história de José Saramago
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Data
2021-01-20
Autores
Salvador, Vitor Celso
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Universidade Estadual Paulista (Unesp)
Resumo
Além dos romances que o tornaram conhecido mundialmente, José Saramago (1922-2010) frequentou vários outros gêneros, inclusive o teatro. No âmbito dramatúrgico, ele escreveu cinco peças: A noite (1979), Que farei com este livro? (1980), A segunda vida de Francisco de Assis (1987), In nomine dei (1993) e Don Giovanni ou o dissoluto absolvido (2005). Analisando-as, nota-se que o tema da “censura” é recorrente em todas elas, apesar de apresentarem tipos diferentes entre si, além da temática indicar relativa aproximação com a vida do próprio escritor, que foi um ateu convicto e um comunista muito engajado. Sendo assim, o “silêncio” colocado em cena, visto em sentido retórico, ganha certa relevância, pois aponta para a opressão imposta por alguns personagens nas tramas teatrais e para as sofridas pelo próprio Saramago. Concomitantemente, a acepção atípica de História defendida pelo dramaturgo ganha destaque, sobretudo para se compreender, com mais minúcias, os contextos históricos desses enredos impregnados de opressão. O objetivo desta pesquisa era colocar em foco os tipos de censura e como os mesmos influenciaram nos textos teatrais de Saramago. Nesse caminho, verificou-se, inclusive, que Saramago utilizou vários procedimentos estéticos dos romances também nas peças, sendo que aqueles contribuíram para a aclimatação temática nelas e, por isso, foi importante comprovar determinadas simetrias dentro desta pesquisa.
Besides the novels that made him known worldwide, José Saramago (1922-2010) attended several other works, including theater. In dramaturgy, he wrote five plays: The night (1979), What will I do with this book? (1980), The second life of Francisco de Assis (1987), In nomine dei (1993) and Don Giovanni or the absolved dissolute (2005). By analyzing them, we notice that “censorship” is a recurrent subject in all of them, despite of the differences between each other. Moreover, the set of themes is relatively close to the life of the own writer, who was a convicted atheist and a very engaged communist. Therefore, the “silence” placed on stage, seen as rhetoric, is somehow relevant because it points to the oppression imposed by some characters in the theater plots and to the ones suffered by Saramago himself. Concurrently, the atypical sense of History defended by the playwright becomes prominent, mainly to understand, with more details, the historic contexts of those plots impregnated with oppression. The objective of this research was to focus the kinds of censorship and the way they influenced his theater texts. In this sense, we also verified that Saramago used several esthetic proceedings of novels in his plays too, which contributed to their thematic adjustment and that’s why it was important to prove certain symmetries in this research.
Besides the novels that made him known worldwide, José Saramago (1922-2010) attended several other works, including theater. In dramaturgy, he wrote five plays: The night (1979), What will I do with this book? (1980), The second life of Francisco de Assis (1987), In nomine dei (1993) and Don Giovanni or the absolved dissolute (2005). By analyzing them, we notice that “censorship” is a recurrent subject in all of them, despite of the differences between each other. Moreover, the set of themes is relatively close to the life of the own writer, who was a convicted atheist and a very engaged communist. Therefore, the “silence” placed on stage, seen as rhetoric, is somehow relevant because it points to the oppression imposed by some characters in the theater plots and to the ones suffered by Saramago himself. Concurrently, the atypical sense of History defended by the playwright becomes prominent, mainly to understand, with more details, the historic contexts of those plots impregnated with oppression. The objective of this research was to focus the kinds of censorship and the way they influenced his theater texts. In this sense, we also verified that Saramago used several esthetic proceedings of novels in his plays too, which contributed to their thematic adjustment and that’s why it was important to prove certain symmetries in this research.
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Palavras-chave
José Saramago, dramaturgia, censura, história, peças teatrais, literatura portuguesa, dramaturgy, censorship, history, theater plays, portuguese literature