Poéticas teatrais em confronto: uma análise da poética armorial suassuniana à luz do debate sobre o teatro nacional-popular
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Data
2022-02-03
Autores
Conessa, Gabriel da Silva
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Universidade Estadual Paulista (Unesp)
Resumo
Desde sua atuação no TEP – Teatro do Estudante de Pernambuco, criado em 1940, à assinatura do Manifesto do Teatro Popular do Nordeste, em outubro de 1961, até o lançamento do Movimento Armorial em Recife, em 1970, Ariano Suassuna traçou uma longa trajetória inspirando-se na cultura popular do Nordeste para suas composições teatrais. Ao longo desse trajeto, foi tecendo gradativamente os fios de sua poética, que veio a se chamar Armorial. No curso das várias experimentações teatrais, compôs algumas peças e entremezes nos quais é possível identificar parte das teses apresentadas no Manifesto de 1961, as quais davam continuidade aos procedimentos que já vinham sendo colocados em prática desde a década de 1940, no TEP. Esta pesquisa tem como objetivo analisar a poética armorial suassuniana à luz do debate sobre ao teatro nacional popular dos centros populares de cultura (CPCs), como foco no Manifesto de 1961, concebido pelos dramaturgos Ariano Suassuna e Hermilo Borba Filho como uma forma de sistematizar os elementos de uma arte teatral fiel às tradições e à cultura popular do Nordeste.
Since his performance at the Student Theater in Pernambuco, created in 1940, at the signing of the Manifesto of the Popular Theater of the Northeast, in October 1961, until the launch of the Armorial Movement in Recife in 1970, Ariano Suassuna has traced a long trajectory inspiring in the popular culture of the Northeast for his theatrical compositions. Along the way, it was gradually weaving the threads of his poetics, which came to be called Armorial. In the course of the various theatrical experiments, he composed some plays and interludes in which it is possible to identify part of the theses presented in the Manifesto of 1961, which gave continuity to the procedures that had been put into practice since the 1940s at the Teatro do Estudante de Pernambuco. This research aims to analyze the Suasunian armorial poetics in the light of the debate on the popular national theater of the popular centers of culture (CPCs), with a focus on the 1961 Manifesto, conceived by the playwrights Ariano Suassuna and Hermilo Borba Filho as a way to systematize the elements of a theatrical art faithful to the traditions and popular culture of the Northeast.
Since his performance at the Student Theater in Pernambuco, created in 1940, at the signing of the Manifesto of the Popular Theater of the Northeast, in October 1961, until the launch of the Armorial Movement in Recife in 1970, Ariano Suassuna has traced a long trajectory inspiring in the popular culture of the Northeast for his theatrical compositions. Along the way, it was gradually weaving the threads of his poetics, which came to be called Armorial. In the course of the various theatrical experiments, he composed some plays and interludes in which it is possible to identify part of the theses presented in the Manifesto of 1961, which gave continuity to the procedures that had been put into practice since the 1940s at the Teatro do Estudante de Pernambuco. This research aims to analyze the Suasunian armorial poetics in the light of the debate on the popular national theater of the popular centers of culture (CPCs), with a focus on the 1961 Manifesto, conceived by the playwrights Ariano Suassuna and Hermilo Borba Filho as a way to systematize the elements of a theatrical art faithful to the traditions and popular culture of the Northeast.
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Ariano Suassuna, Arte Armorial, Cultura Popular, Teatro Nacional-Popular, Armorial Art, Popular Culture