Um Estudo da cenologia baiana a partir do Núcleo Afro-brasileiro de Teatro de Alagoinhas - NATA

Abstract

The dissertative Padê, presented in the now, seeks to investigate the black candomblé theater of the Núcleo Afro-brasileiro de Teatro de Alagoinhas – NATA (1998-2019), through the analysis of its last four shows - Siré Obá - A Festa do Rei; Ogum - Deus e Homem; Exu - A Boca do Universo and Oxum. It references the Teatro Experimental do Negro – TEN (1944- 1961), Bando de Teatro Olodum – 1990, Companhia dos Comuns (2001) and Grupo de Teatro Abdias Nascimento – CAN (2002), which are references for black theaters in Brazil and for the poetic work of NATA. Having Oral History os its center methodology, this qualitative and historical research, with an exploratory-descriptive approach, considers an analysis from the inside out. In order to contextualize the reader, the 20th century is pointed out as a turning point in the perspective of an engaged/political black theater, and of movements that contribute to promote resistance outside the scene, such as the Frente Negra Brasileira – FNB (1931-1937) and the Fórum Nacional de Performance Negra – FPN (2005). Having this as a principle, it is aimed to point out the negrocenic presence in the counter flow of the arts in the western canon, considering the historical construction and the African and/or Afro-Brazilian ancestry in the poetic and aesthetic scene of the theatrical making, understanding the black bodies, the relation between art and politics, the socio-historical confrontations, and the fight for visibility and space, reflecting on the ethno-racial identities in the subversion of the logic in the spaces of power.