Momentos da década de 1970 na dramaturgia de Gianfrancesco Guarnieri : o caso Vladimir Herzog (1975) (re)significado em Ponto de Partida (1976)

Abstract

The decade of 1970 experienced a period of transition in which the plan of opening politics , proposed by Geisel s Government (1974-1979), shown the signs of a succession of measures that indicated one acting dynamics very full of ambiguous questions and retrocessions. At the cultural field, the censorship presented on a systematic way since the AI-5 (Institutional Act nº 5), in 1968 maintained itself active in the sense to bar that spectacles and theatrical texts should approach the brazilian social reality on their arguments. In the midst of the arbitrary and repressive pratices, the theatrical class constituted a resistance front, on which the utilization of metaphores, analogies, parables and allegories represented strategies of intervention in the social reality, paradoxically contributing for one of the most fecunds moments of the brazilian theatre s production. On this conjuncture, we detached in this research the political and cultural militance of Gianfrancesco Guarnieri, a responsible person for a profitable dramatistic production along of the 1960/1970 decades. And specially, we analysed the dramatic text Ponto de Partida (1976), one politcal parable whose thematic allowed a reflection about the will, the authoritarian Government and the manipulating strategies of power. His writing, motived by one incident with great impact in the nation, the murder of the journalist Vladimir Herzog by the repression s organizations of the 2nd Army (Armed Forces), also made possible a dialogue with a historical context when was processing one series of social demonstrations in this country to demand the human rights defence and for the return of the State of Right. Thus, to evaluate the thematic possibilities of the theatrical text, to recover the historical incidents that were the motivation for the writing of the dramatic play as well as the repercussion of its staging with the aim to verify the identification between the audience and this spectable, at last, all these questions became privileged points of reflection on this work.