Contradições entre gênero e classe no teatro de grupo paulistano: a representação poética da mulher no espetáculo A Brava da Brava Companhia
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Data
2018-07-27
Autores
Lopes, Vanessa Biffon [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação tem como objetivo investigar as contradições entre gênero e classe no teatro de grupo paulistano através dos modos de produção e da análise da representação poética da mulher no espetáculo A Brava da Brava Companhia, única peça deste coletivo a colocar em protagonismo uma figura feminina, em contraste com a construção poética das mulheres nos demais espetáculos e experimentos da Cia (O Errante; Este lado para cima; Corinthians, meu amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão). A Brava Companhia faz parte do movimento de teatro de grupo paulistano, formado por grupos que têm como premissas centrais o trabalho continuado, a pesquisa de linguagem e a relação profícua com o contexto social em que estão inseridos. Foram realizadas entrevistas com a Companhia e, principalmente, com as mulheres, destacando a participação delas nas funções artísticas, administrativas e nas instâncias decisórias do grupo, questionando os poucos registros da atuação feminina na Companhia e considerando que seu modo de produção, incluindo as relações de gênero, reflete diretamente na construção poética. Utilizando algumas teorias do feminismo, ora entrecruzadas com o teatro (ROMANO, 2009; ANDRADE, 2008; VICENZO, 1992) e o teatro épico dialético (DIAMOND, 1997; POLLOCK, 1989), ora com o marxismo e o socialismo (SAFFIOTI, 2014; MORAES, 2000; GOLDMAN, 2014) e também com a história das mulheres (PERROT, 1992; 2015), procurou-se fazer uma leitura feminista da trajetória do grupo, desde seu surgimento e durante a ocupação no Sacolão das Artes, até o rompimento de algumas(alguns) integrantes no final de 2017. A pesquisa ainda abrangeu uma reflexão acerca da experiência artística paralela de duas artistas da Brava Companhia no Madeirite Rosa, coletivo teatral composto apenas por mulheres. Como hipótese, avalia-se que o discurso focado apenas na luta de classes acaba por inibir a perspectiva das(dos) artistas na construção do gênero feminino em cena. Em diálogo com estas contradições, elegeu-se a perspectiva feminista da interseccionalidade (CRENSHAW, 2004; DAVIS, 2016;) como fundamentação teórica para a construção poética em intersecção entre gênero e classe, a ser retomada em pesquisas futuras.
This dissertation aims to investigate the contradictions between gender and class in the São Paulo theater group through the modes of production and analysis of the poetic representation of woman in the play A Brava, the only play of the Brava Company group, which spotlights a female figure in contrast to the poetic construction of women in the other experiments and performances from this company, such as O Errante; Este lado para cima; Corinthians, meu Amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão. The Brava Company is part of the theater movement of the paulistano group, formed by groups that have, as central beliefs, the continuous work, the language research and the meaningful relation with the social context in which they are placed. Interviews were conducted with the company, mainly with women, in order to highlight the female’s participation not only in artistic and administrative roles, but also in group decision-making situations, in a way to question the few records of female performance in the company and to consider how their mode of production, including gender relations, reflects directly on poetic construction. Regarding a few feminist theories, some intertwined with the theater (ROMANO, 2009, ANDRADE, 2008, VICENZO, 1992) and the dialectical epic theater (DIAMOND, 1997, POLLOCK, 1989), and others with marxism and socialism (SAFFIOTI, 2014) and the history of women (PERROT, 1992; 2015), a feminist interpretation of the group trajectory was made, from its inception and during the occupation of the Sacolão das Artes, until the rupture of some members at the end of 2017. This research also embraced reflections about the concomitant artistic experience from two artists, who belong to Brava Company, at Madeirite Rosa, a theatrical organization composed only of women. As a hypothesis, it is evaluated that the discourse which is only focused on class struggle tends to inhibit the perspective of the artists about the feminine gender construction in the scene. In dialogue with these contradictions, the feminist perspective of intersectionality was chosen (CRENSHAW, 2004; DAVIS, 2016) as the theoretical foundation for the poetic construction at the intersection between gender and class, a theme that will be continued in future research.
This dissertation aims to investigate the contradictions between gender and class in the São Paulo theater group through the modes of production and analysis of the poetic representation of woman in the play A Brava, the only play of the Brava Company group, which spotlights a female figure in contrast to the poetic construction of women in the other experiments and performances from this company, such as O Errante; Este lado para cima; Corinthians, meu Amor; Júlio e Aderaldo; Quadratura do Círculo; JC; Show do Pimpão. The Brava Company is part of the theater movement of the paulistano group, formed by groups that have, as central beliefs, the continuous work, the language research and the meaningful relation with the social context in which they are placed. Interviews were conducted with the company, mainly with women, in order to highlight the female’s participation not only in artistic and administrative roles, but also in group decision-making situations, in a way to question the few records of female performance in the company and to consider how their mode of production, including gender relations, reflects directly on poetic construction. Regarding a few feminist theories, some intertwined with the theater (ROMANO, 2009, ANDRADE, 2008, VICENZO, 1992) and the dialectical epic theater (DIAMOND, 1997, POLLOCK, 1989), and others with marxism and socialism (SAFFIOTI, 2014) and the history of women (PERROT, 1992; 2015), a feminist interpretation of the group trajectory was made, from its inception and during the occupation of the Sacolão das Artes, until the rupture of some members at the end of 2017. This research also embraced reflections about the concomitant artistic experience from two artists, who belong to Brava Company, at Madeirite Rosa, a theatrical organization composed only of women. As a hypothesis, it is evaluated that the discourse which is only focused on class struggle tends to inhibit the perspective of the artists about the feminine gender construction in the scene. In dialogue with these contradictions, the feminist perspective of intersectionality was chosen (CRENSHAW, 2004; DAVIS, 2016) as the theoretical foundation for the poetic construction at the intersection between gender and class, a theme that will be continued in future research.
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Palavras-chave
Teatro de grupo, Brava Companhia, Representação poética, Brava Company, Group theater, Feminine gender, Social class, Poetic representation, Gênero feminino, Classe social