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Oswald de Andrade é mais uma vez o prato a ser devorado pelo Teatro Oficina, que prepara para novembro a estreia de Mistérios Gozosos, de José Celso Martinez Corrêa, com músicas de José Miguel Wisnik e da ala de compositores do Teatro Oficina, a partir do poema “O Santeiro do Mangue”, de Oswald de Andrade. Os ensaios acontecem com a força musicada e ditisambada da Primavera virada Verão de 2015.

A primeira versão da peça ganhou vida nas ruas do centro de São Paulo durante o Carnaval de 1994, para mais de 4.000 espectadores. Depois teve temporada no Teatro Oficina entre dezembro de 1994 a maio de 1995, com críticas expressivas.

Em 2015, surge dentro do projeto Oswaldianas, patrocinado pela Petrobras, como nova biografia d´O Santeiro do Mangue de Oswald de Andrade, gemido y plasmado in epifanias.

A Ação se passa

dias antes

da secura total dos Trópicos

restou dos 70% d ‘águas

em cada um de nós:

humano elemento

neste momento

olho d’agua nascente

No Mangue do Rio de Janeiro – a mais famosa zona de prostituição brasileira nos anos 1940, um vendedor de santos fica dividido entre a sua família que mora no morro e uma jovem prostituta do Mangue.

Serafim Ponte Grande, Jesus das Comidas, o Homem da Ferramenta

Satã, Eduléia, as Putas do Mangue, Seu Olavo dos Santos, Deolinda, Anjos, Anjas, Leoas, Turistas, Cafetões, Gigolôs, Michês, Mulheres de Jerusalém, Senhoras Católicas, Fregueses:

Senhas nas Mãos

Vocês vão penetrar

vosso Ovário

neste Porto Inter Planetário

MISTÉRIOS

DOLOROSOS

GLORIOSOS

GOZOSOS…

 

Vem cá beleza
Vem cá benzinho
Qué fazê sacanagem
Com uma brasileira?
Vam fudê vam
Vam buchê vam
Na bunda vam

É uma peça de Oswald de Andrade, autor chave do movimento modernista brasileiro, cuja obra, profundamente política, alegre e debochada, inspirou o tropicalismo dos anos 60.

O texto é uma adaptação musicada por José Miguel Wisnik do poema dramático O Santeiro do Mangue, mistério gozozo – à moda de ópera. A ação se passa nos trópicos, mais precisamente no Mangue do Rio de Janeiro – a mais famosa zona de prostituição brasileira nos anos 40. Ela conta a história de um vendedor de santos dividido entre a sua família que mora no morro e uma jovem prostituta do Mangue.

A peça foi apresentada pela primeira vez nas ruas do centro de São Paulo durante o Carnaval de 1994 para mais de 4.000 espectadores. Essa temporada embrionária, no Teatro Oficina, durou de dezembro de 1994 a maio de 1995.

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The epiphany of Oswald de Andrade’s poem is a *JOYFUL MYSTERY* in the midst of a paralyzing crisis in Brazil, born of the hatred that’s bred between social classes and has been out of closet since the right wing lost the elections by a tiny margin. The militant grudge of this failure became an established coup since October 26th, 2014, and a hindrance to President Dilma’s government thus turned into scapegoat. And the Official Brazyl, blown in such a way, stopped…

However, the brazier does not stop. And life, along with its mysteries, goes on.
Artists from Teat®o Oficina Uzyna Uzona, living beings in the most adverse conditions, moan, mold and cannibalize “O Santeiro do Mangue”, an ejaculating, fertilizing gust from poet Oswald de Andrade to multiple trans-human, living creatures of verse, syllables, Eucharistic polyphonies, Anthropophagic communion across Oswald’s, the Tropical Shakespeare, anthropo-fucking communion that presented us with the Offertory of this poem of Theatrical Arts.

The play was brought to life by Oswald, by the sea, in Leme, Rio de Janeiro, at the ‘love sea’: “Mar d’a mar”.
“Mistérios Gozósos” (Joyful Mysteries) is a musical anthropophagy of José Celso Martinez Corrêa for the theatrical poem “O Santeiro do Mangue”, by Oswald de Andrade. Sponsored by Petrobras, which in 2015 completes ten years of partnership with Teat®o Oficina, Joyful Mysteries will have its season until January 25, 2016.

The action takes place in the tropics, days before the complete dryness, where the ‘love sea’, main character of Oswald de Andrade’s poem, lustfully penetrates the Dock’s Canal, Sea Land, Original Clay whence we all came, were carved and, since then, we, living beings, have become saint-makers and discovered new ways in which to de-carve ourselves in and out of new shapes and into new santerias.
In this unknown land we find Eduléia (Mariana de Moraes), who became a prostitute under the privy eyes of Serafim (Roderick Himeros) and Nourishing Jesus (Marcelo Drummond).

In this fertilizing biome are also prostitutes, gigolos, tourists, Women of Jerusalem and Catholic Women. Olavo (Glauber Amaral) is also there! He is a saint-maker, divided between Eduléia and Deuzolinda (Camila Mota), his pregnant wife. They are all human characters, part of a vast area transformed into a collective brothel, a universe where stars are interconnected in its immanent physicality: Libido, the Soul of Love.

It is of the union between Oswald’s poem and Brecht’s “Jungle of Cities” that the present Elektronik Terreiro at Teat®o Oficina Uzyna Uzona is born. For Oficina, the Eleusinian Mystery underground was the Greek tragedy’s birthplace, in which we discover the Ritual of the Creation of Theatre: The Maenads. All verses and lines in this play, in our Brazylian tongue, came from the anthropophagy of the very poetic and precise Oswaldian language present in the Joyful Mysteries. We staged it during Carnaval, in 1994, facing the house of the Marquise of Santos, next to Praça da Sé. It was a miracle staged in a week, with 300 artists of many art forms. It cost me a heart attack; nonetheless, I do not regret my excessive workload, nor the heart attack.

The season began at Teat®o Oficina between 1994 and 1995. Zé Miguel Wisnick composed beautiful songs for the play – recorded by Elza Soares, Ná Ozzetti and the composer himself. At that time, however, we did not have the performance expertise for a Musical Poem. We had the feeling we needed to be reborn, from Carnaval Operas that the poem itself bore. And we wanted precisely to be reborn in the Passion and Misery in which we are currently living, through the 2015 Brazylian and world crisis. A crisis that generates a deep realization, never before imagined, that goes beyond economics and politics; an anthropological crisis, in which native shamans emerge from the forests that still stand and summon our bodies risked of extinction, out of the polluted and dry air – almost entirely captured by the grind of stupidity and capitali$tic rottenness.

Theatre is the oldest among Public Arts. It only happens with the presence of the audience, from many places, social classes and tribes (in the literal sense of the term). All we are doing is meant for this very moment; the daily birth of all that is created. It is a Cosmo Political Ritual in search of a gathering of humans at the Eternal Archaic Present, in which audience and actors are given the freedom to devour mythological values in new agonies, taboos, present prejudices and from which, in midst of a crisis, new perspectives may flourish, practices for a practical living in our world, still terrified by old prejudices. It is a native ritual that is worshiped by David Kopenawa, of the Yanomami people: joy, bravery and generosity.

*JOYFUL MYSTERIES*

*Director and playwright:* José Celso Martinez Correa
*Musical director:* Felipe Botelho
*Cast:* Marcelo Drummond, Denise Assunção, Camila Mota, Mariana de Moraes, Vera Barreto Leite, Roderick Himeros, Glauber Amaral, Sylvia Prado, Letícia Costa, Céllia Nascimento, Danielle Rosa, Joana Medeiros, Luiz Felipe Lucas, Madalena Bernardes, Tony Reis, Sergio Siviero, Lucas Andrade, Lucas Rangel, Felipe Velozo, Ayla Alencar, Leon Oliveira, Wallace Ruy, Clarisse Johansson e Igor Phelipe.

*Dates / times:*

*In 2015:* From November 20th to December 20th, always on Fridays (21h), Saturdays (21h) and Sundays (19h); extra shows on December 23rd (14:30), on December 25th (Christmas night, at 21h) and on December 31st (New Years Eve, at 21h).

*2016:* From January 2nd to 25th, with shows only on Saturdays (21h) and Sundays (19h); extra shows on January 11th (Monday, at 21h, Oswald de Andrade’s birthday) and on January 25th (Monday, at 19h, São Paulo’s anniversary).

*Where:* Teat®o Oficina (Rua Jaceguai, 520. Tel: 11. 3106-2818).
*Tickets:* Fridays – R$ 40,00 (full-price), R$ 20.00 (half-price) and R$ 5,00 (Bixiga residents). Saturdays, Sundays and special dates – R$ 50,00 (full-price), R$ 25,00 (half-price) and R$ 5.00 (Bixiga residents). Tickets may be bought at the box office, one hour prior to the show, or online, on “this link”:http://www.compreingressos.com/espetaculos/5506-misterios-gozosos.
*Length:* 180 min.
*Genre:* Musical TragiComicOrgyastic.
*Rating:* 16.
*Capacity:* 300 seats.

*ENGLISH SUBTITLES!*

Live broadcast at “www.teatroficina.com.br”:http://teatroficina.com.br/home.

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