Teatro preto de Candomblé: Uma proposta ético-poética de encenação e atuação negras

Abstract

This research is part of a poetic-reflective context at the intersection of three fields: Creative Processes, Candomblé and Theater. The triggering object is made up of the approximations, tensions, reflections and problematizations of the Candomblé-Teatro binomial, established in the researcher’s poetic journey, who, in more than ten years of theatrical practice in the professional scene, delivered nine productions: Siré Obá – A Festa do Rei; Ogun – Deus e Homem; Oyaci – A filha de Oyá; Exu – A Boca do Universo; Kanzuá – Nossa Casa; Macumba – Uma Gira sobre poder; Traga-me a cabeça de Lima Barreto; Oxum; Pele Negra, máscaras brancas, all derived from the scenic research Ativação do Movimento Ancestral and which resulted in the creation of the Teatro Preto de Candomblé poetics. In this formative and creative itinerary, we aimed at carrying out a study on Afro-diasporic staging and acting and to identify and examine how the theoretical cruisers of the scene – Ancestrality, Afrocentricity and Crossroads – combine with the guiding principles of the stage director's theatrical poetics – Myth-poetic Narratives, Ritual Theater and Today’s Tradition – and generate the guiding procedures for scenic creation. In this context, a brief study on Candomblé rituality, anthropology and history is presented, considering its contribution to the poetic construction of Teatro Preto de Candomblé, through a comprehensive approach and a critical ethnography in dialogue with authors such as Denise Carrascosa , Eduardo Oliveira, Leda Maria Martins, Luiz Rufino, Molefi Kete Asante, and the thought of Sotigui Kouyaté, Carlos Vaz, Peter Brook, Eugenio Barba, Inaicyra Falcão, Juana Elbein Santos, Marco Aurélio Luz, Luis Nicolau Páres and Renato da Silveira. In addition, there are interviews with important names in Brazilian theater such as Evani Tavares, Lucélia Sérgio, Iléa Ferraz, Lázaro Ramos, Ângelo Flávio, Zebrinha, Gustavo Melo, Luiz Marfuz, among others. In the research, five shows are examined in the light of the construction of the assumptions of Teatro Preto de Candomblé, namely: Siré Obá – A Festa do Rei Oyaci – A filha de Oyá; Traga-me a cabeça de Lima Barreto; Ogun - Deus e Homem e Pele Negra the latter being the main focus of convergence between the creative processes, the theoretical cruisers and the director's poetics.