Do romanesco à cena: transbordamentos infinitos em Querô, uma reportagem maldita de Plínio Marcos

Abstract

This work seeks to make a theoretical reflection on aspects related to the new dramaturgic forms, in development in modern and contemporary Brazilian theater, it is a study, with several readings of Querô, a cursed report, by Plínio Marcos (1992, 2003, 2009). A comparsion is made, from the adaptation of the novel by Plínio Marcos himself to the dramaturgical text and of the appropriation, in the terms of Beigui (2006), that culminates in the spectacle, elaborated by the theatrical group of São Paulo, the Galpão Folias d’Arte, with The objective of critically discuss the readings and construction of these new productions. In this sense, it was observed that the appropriative process results in a dramaturgical form that is deeply linked to the proposals of Jean-Pierre Sarrazac (2000, 2011, 2012), since it points to the "rhapsodic", especially since it is perceived in the various readings of Querô a freer form, in which the boundaries between mimesis and diegesis are tenuous, as a concept that extends the paradigm shift, the "drama-of-life" (Sarrazac's own term). In this way, we also discuss about romanticise, since the concept of "rhapsody", by Sarrazac (2002, 2012), is related to Bakhtin's (1998) discussion of "romantisizing". So that this thesis, included in the scope of the comparative studies due to present an intermidial character, proposes to discuss through the analysis / comparison of Querô, the tragic elements in the works, considering that the presence of a “tragic quotidian" as well as, according to Sarrazac (2013), the presence of the common man, the impersonnage that will sustain the tragic.