Reprises circenses: o repertório dos palhaços e a consolidação da técnica e da profissão através da oralidade
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Data
2021-12-10
Autores
Souza, Alda Fátima de
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Universidade Estadual Paulista (Unesp)
Resumo
O repertório dos palhaços apresentado nos picadeiros dos circos brasileiros, também transportados para o cinema, teatro, televisão e mais recentemente para a internet, sempre foram fonte de pesquisa dos estudos concernentes à arte circense. Contudo, quais são os elementos que constituem as bases desse repertório compartilhado por todos os palhaços nos circos brasileiros? A hipótese inicial da pesquisa aponta que o repertório cômico utilizado pelos palhaços nos circos brasileiros, tem em suas premissas um conglomerado longínquo de piadas, roteiros e expressões corporais que são anteriores à formação do circo moderno. Portanto, esta pesquisa compilou referenciais bibliográficos, material audiovisual, entrevistas, artigos, documentos e outras fontes que trouxessem apontamentos e levantamentos do repertório dos palhaços a fim de entender suas bases cômicas. A partir desse levantamento é possível traçar um percurso realizado ao longo do tempo que faz com que o palhaço transite por diversos espaços da cena, lançando mão de temáticas semelhantes em suas piadas, conferindo- lhes uma significação atemporal. Nesse sentido, foi possível estabelecer uma divisão dos capítulos da tese em três momentos distintos: o primeiro fixa os principais conceitos do atual repertório dos palhaços, tendo como base as pantomimas, palhaçadas, chegando à atualidade na divisão de entradas e reprises, além do impacto das estruturas físicas na constituição do repertório; o segundo traça um paralelo entre as temáticas dos cômicos das antigas farsas atellanas, da commedia dell’arte, dos charlatães das feiras e saltimbancos com as temáticas do repertório dos palhaços nos circos brasileiros; o terceiro aborda a memória e oralidade que constituem a transmissão desse repertório. Ao longo da pesquisa estabeleceu-se múltiplas relações evidenciando o amplo e vasto repertório dos palhaços que, a cada nova apresentação ou reapresentação, atualiza-se de acordo com tempo, espaço, cultura e informações socioambientais, fazendo com que o improviso seja o cerne de seu repertório. Entendemos que esse movimento é cíclico e concomitante, não sendo o repertório exclusivo de um autor, mas de um conglomerado de autorias que se sobrepõem, como em um palimpsesto. Desse modo, as conclusões da pesquisa partem do pressuposto de que o repertório dos palhaços é construído e aplicado simultaneamente, e sua transmissão através da oralidade constitui o principal fator de renovação e atualização da comicidade alcançada junto ao público.
The repertoire of clowns presented in the circus rings of Brazilian circuses, also transported cinema, theater, television and more recently to the internet, have always been a source of research in studies concerning circus art. But, what are the elements that form the basis of the repertoire shared by all the clowns in Brazilian circuses? The inicial hypothesis of the research is that the comic repertoire applied in Brazilian circuses by clowns, has in its bases a distant conglomerate of jokes, scripts and bodily expressions that are prior to the formation of the modern circus. Thus, in this research we gathered bibliographic references, audiovisual materials, interviews, articles, documents and other sources that brought notes and surveys of the clowns’ repertoire in order to understand their comic bases. From the survey, it is possible to trace a path taken over time that makes the clown move through different spaces in the scene, using similiar themes for his jokes, making them timeless. In this sense, it was possible to establish a division of the thesis chapters in three distinct moments: the first establishes the main concepts of the current repertoire of clowns, based on Pantomimes, Palhaçadas, reaching the top in the Entries and Reprises division, in addition to the impact the physical structures in the constitution of the repertoire; in the second moment, it was possible to draw a parallel between the themes of the comics of the old Atellanas farces, of the commedia dell’arte, of the charlatans of the fairs and saltimbancos with the themes of the repertoire clowns’ in Brazilian circuses; in a third moment, we approach the memory and orality that constitute the transmission of this repertoire. Throughout the research, multiple relationships we established, which evidenced the wide vast repertoire of clowns, which at each new presentation or re-presentation is updated according to time, space, culture and socio-environmental information, making improvisation at the heart of the repertoire of clowns. We understand that this movement is cyclical and concomitant, not being the exclusive repertoire of an author, but of a conglomerate of authorships that overlap, as in a palimpsest text. Thus, the research conclusions assume that the clowns’ repertoire, at the same time that it was being built, was also being applied and that its transmission through orality in the main fator of renovation and updating of the comedy achieved wich the public.
The repertoire of clowns presented in the circus rings of Brazilian circuses, also transported cinema, theater, television and more recently to the internet, have always been a source of research in studies concerning circus art. But, what are the elements that form the basis of the repertoire shared by all the clowns in Brazilian circuses? The inicial hypothesis of the research is that the comic repertoire applied in Brazilian circuses by clowns, has in its bases a distant conglomerate of jokes, scripts and bodily expressions that are prior to the formation of the modern circus. Thus, in this research we gathered bibliographic references, audiovisual materials, interviews, articles, documents and other sources that brought notes and surveys of the clowns’ repertoire in order to understand their comic bases. From the survey, it is possible to trace a path taken over time that makes the clown move through different spaces in the scene, using similiar themes for his jokes, making them timeless. In this sense, it was possible to establish a division of the thesis chapters in three distinct moments: the first establishes the main concepts of the current repertoire of clowns, based on Pantomimes, Palhaçadas, reaching the top in the Entries and Reprises division, in addition to the impact the physical structures in the constitution of the repertoire; in the second moment, it was possible to draw a parallel between the themes of the comics of the old Atellanas farces, of the commedia dell’arte, of the charlatans of the fairs and saltimbancos with the themes of the repertoire clowns’ in Brazilian circuses; in a third moment, we approach the memory and orality that constitute the transmission of this repertoire. Throughout the research, multiple relationships we established, which evidenced the wide vast repertoire of clowns, which at each new presentation or re-presentation is updated according to time, space, culture and socio-environmental information, making improvisation at the heart of the repertoire of clowns. We understand that this movement is cyclical and concomitant, not being the exclusive repertoire of an author, but of a conglomerate of authorships that overlap, as in a palimpsest text. Thus, the research conclusions assume that the clowns’ repertoire, at the same time that it was being built, was also being applied and that its transmission through orality in the main fator of renovation and updating of the comedy achieved wich the public.
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Palavras-chave
Reprises circenses, Repertório dos palhaços, Circo, Oralidade, Transmissão, Circense reprises, Repertoire of clowns, Circus, Orality, Transmission