A noite em que o cravo feriu o fuzil: da História e seu cortejo de oprimidos no teatro moderno de José Saramago
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Data
2021-07-30
Autores
Conte, Marco Aurélio Abrão [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A vasta obra de ficção narrativa de José Saramago (1922-2010) tem já um número expressivo de estudos acadêmicos aquém e além das fronteiras do mundo em que se fala e escreve a língua portuguesa. Mas ainda que seja consensual o reconhecimento do forte teor político, de inspiração marxista, que caracteriza toda a sua produção literária, muito pouco se tem falado sobre duas searas de sua produção: as cinco peças de teatro, escritas sob o estímulo ou encomenda de produtores teatrais, e os textos de cunho jornalístico, também de teor político, que o autor redigia para os jornais em que trabalhou como editorialista e diretor. Pretendemos mostrar que esses artigos, publicados em Portugal na década de 1970 – antes e depois do calor da hora revolucionária do 25 de abril – e reunidos nos volumes A opinião que o Diário de Lisboa teve (1974) e Os apontamentos (1976), exerceram relevante influência sobre os textos de ficção dados à estampa no chamado período formativo do escritor e já prenunciam os grandes temas de sua mais madura narrativa. A própria dimensão ensaística, já amplamente reconhecida pela crítica, dos romances de Saramago parece remeter a esses escritos. Este trabalho propõese a tratar de uma parte esquecida da literatura saramaguiana, a sua dramaturgia, lendo-a à luz não só dos referidos textos jornalísticos, aqui tomados como eficientes catalisadores que permitem analisar e interpretar A noite, de 1979, mas também das teorias a respeito da estética teatral moderna – sobretudo, as de Peter Szondi e de Sarrazac – e dos Estudos Culturais – nomeadamente, os de Raymond Williams acerca da relação entre arte e sociedade – e, com isto, demonstrar como essa sua primeira peça, ao contrário do que afirmam os escassos textos a ela dedicados, apesar de distante das vanguardas teatrais do século XX, dialoga temática e formalmente com as questões do teatro moderno ocidental. A ação da peça se desenrola na redação de um jornal alinhado ao ideário fascista e compreende os momentos imediatamente anteriores à – e a própria – eclosão da Revolução dos Cravos. Suas personagens corporificam as complexas forças sociais envolvidas explícita ou veladamente no movimento que pôs fim a quase meio século do regime autoritarista em Portugal. Através da diluição de um eu épico na estrutura do texto dramático; de uma representação de personagens que, menos individual que coletiva, flerta com a alegoria e se esquiva do naturalismo; do esvaziamento da ação dramática em favor do movimento histórico; do estabelecimento de uma comunicação compulsória, que tensiona o isolamento humano; da colagem de textos e de outros procedimentos, Saramago revela-se um importante nome também do teatro moderno português, ainda que se tenha proclamado um dramaturgo acidental
José Saramago's (1922-2010) vast work of narrative fiction has now a significant number of academic studies that are far beyond the borders of the world in which Portuguese language is spoken and written. Although it’s consensual the recognition of the strong political content, of Marxist inspiration, that characterizes all his literary production, very little has been said about two fields of his production: the five plays, written under the encouragement or commission of theatrical producers, and the journalistic texts, also of political content, that the author wrote for the newspapers where he worked for as an editorialist and director. We shall present how these articles, published in Portugal in the decade of 1970s - before and after the heat of the revolutionary hour of 25 April – and gathered in the volumes As opiniões que o DL teve (1974) and Os apontamentos (1976), exerted relevant influence on the fiction texts printed in the socalled formative period of the writer and already foreshadow the great themes of his most mature narrative. The very essayistic dimension of Saramago's novels, yet widely recognized by critics, seems to refer to these writings. This research proposes to address a forgotten part of the saramaguian literature, its dramaturgy, reading it in the light not only of the referred journalistic texts, here taken as efficient catalysts that allow to analyze and to interpret A Noite (1979), but also of the theories about modern theatrical aesthetics - especially those of Peter Szondi and Sarrazac - and of Cultural Studies - namely, those of Raymond Williams concerning the relationship between art and society - therewith, to demonstrate how his first play, contrary to what the few texts dedicated to it affirm, despite being distant from the theatrical avant-garde of the 20th century, dialogues thematically and formally with the issues of modern western theater. The play's action takes place in the editorial department of a newspaper aligned with the fascist ideology and comprises the moments immediately before - and the very – outbreak of the Carnation Revolution. His characters embody the complex social forces involved explicitly or veiled in the movement that ended almost half a century of authoritarian regime in Portugal. Through the dilution of an epic speaker in the structure of the dramatic text; a representation of characters who, less individual than collective, comes near to the allegory and dodges naturalism; the draining of the dramatic action in favor of the historical movement; the establishment of compulsory communication, which stresses human isolation; the collage of texts and other procedures, Saramago becomes also an important name in modern Portuguese theater, even though he proclaimed himself as an incidental dramatist.
José Saramago's (1922-2010) vast work of narrative fiction has now a significant number of academic studies that are far beyond the borders of the world in which Portuguese language is spoken and written. Although it’s consensual the recognition of the strong political content, of Marxist inspiration, that characterizes all his literary production, very little has been said about two fields of his production: the five plays, written under the encouragement or commission of theatrical producers, and the journalistic texts, also of political content, that the author wrote for the newspapers where he worked for as an editorialist and director. We shall present how these articles, published in Portugal in the decade of 1970s - before and after the heat of the revolutionary hour of 25 April – and gathered in the volumes As opiniões que o DL teve (1974) and Os apontamentos (1976), exerted relevant influence on the fiction texts printed in the socalled formative period of the writer and already foreshadow the great themes of his most mature narrative. The very essayistic dimension of Saramago's novels, yet widely recognized by critics, seems to refer to these writings. This research proposes to address a forgotten part of the saramaguian literature, its dramaturgy, reading it in the light not only of the referred journalistic texts, here taken as efficient catalysts that allow to analyze and to interpret A Noite (1979), but also of the theories about modern theatrical aesthetics - especially those of Peter Szondi and Sarrazac - and of Cultural Studies - namely, those of Raymond Williams concerning the relationship between art and society - therewith, to demonstrate how his first play, contrary to what the few texts dedicated to it affirm, despite being distant from the theatrical avant-garde of the 20th century, dialogues thematically and formally with the issues of modern western theater. The play's action takes place in the editorial department of a newspaper aligned with the fascist ideology and comprises the moments immediately before - and the very – outbreak of the Carnation Revolution. His characters embody the complex social forces involved explicitly or veiled in the movement that ended almost half a century of authoritarian regime in Portugal. Through the dilution of an epic speaker in the structure of the dramatic text; a representation of characters who, less individual than collective, comes near to the allegory and dodges naturalism; the draining of the dramatic action in favor of the historical movement; the establishment of compulsory communication, which stresses human isolation; the collage of texts and other procedures, Saramago becomes also an important name in modern Portuguese theater, even though he proclaimed himself as an incidental dramatist.
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Palavras-chave
José Saramago, Teatro moderno, Teatro português, Jornalismo político, Revolução dos Cravos