O Rei da Vela pelo teatro Oficina (2017): entre a espinafração das permanências e o apelo ancestral por reexistência

Abstract

This research aims to discuss the re-enactment of O Rei da Vela (2017) by Teatro Oficina with a focus on the political discussion carried out through the artistic influences mobilized in the show. For the development of this dissertation, the aesthetic experiments assimilated by Oficina after the first staging of Oswald de Andrade's dramatic text, in 1967, were analyzed, triggering a rich transformation process for the company that was led by actor and director José Celso Martinez Corrêa for more than six decades. We investigated the resizing of theatrical production based on three key concepts for understanding Oficina in recent decades: te-ato, electronic terreyro and tragicomedyorgya. Based on this direction, the aesthetic construction of the revival of The King of Vela was debated through the analysis of important scenes in the development of the show, in conjunction with the recent political history of Brazil, especially its permanence. Finally, with the aim of deepening the historicity of the reenactment, we analyzed the historical process of the struggle for Parque do Rio Bixiga and the Bixigão Movement, evoked directly and indirectly at the end of each show as its metatheatrical facet, consisting of the appeal for a perspective of popular urbanization for the Bixiga neighborhood.