O teatro brincante de Rosane Almeida e a configuração da cultura popular nordestina em A mais bela história de Adeodata

Abstract

In this work the aim is to analyze, under the bias of the popular culture (ORTIZ, 1992, 2003, 2006; DE CERTEAU, 1998) and the studies of gender (COSTA; BRUSCHINI, 1992; LOURO, 1997), the configuration of the characters in theatrical text A mais bela história de Adeodata, the Brazilian contemporary dramaturge Rosane Almeida. Through the female characters depicted in the play, are assessed the crossings of the northeastern popular culture with/by the artistic expressions of the so-called "brincante theater" in which are engendered the dramatic actions. It is worth noting also the memorialistic presence of the different and socially distant faces of Adeodata, put into dialogue (BAKHTIN, 1997). Occur, in the text, imbrications of the conditions of feminine engagement, referring to a triad of personalities in which materialize "the profane", "the pagan" and "the sacred". (BARROS, 2004). The cultural miscegenation represented by these characters competes for the reader/spectator understands the theater called "brincante". Typical gender of Brazilian northeastern, the brincante is explored by the dramaturge, marking her style. Anchored in studies of Ubersfeld (2005), Ryngaert (1996), Prado (1998) and Pallottini (1988), among others, concerning the way of structuring the theatrical text, the work also highlights regularities that constitute the feminine representation into the play, constituted (and constituting itself) throughout the history of mankind. The play highlights, despite of the social transformations that have affected the (dis)identification of women and the social roles linked to gender, in the social imaginary still remain traces of ancient patriarchy, enrolled in religious discourse, in the history and in the memory of Brazilian society.