Teatrão aqui e aí

Sylvia Colombo

O “teatrão” é mesmo parecido em qualquer lugar. Mesmo Buenos Aires, meca do teatro alternativo e mais artístico, não escapa. Com a esperança de que uma adaptação local de “An Affair of Love” (Uma relação pornográfica) pudesse acrescentar algo interessante ao filme original, de 1999, fui ontem ao Paseo Plaza, na mítica avenida Corrientes, conferir a adaptação portenha da obra.

A produção que inspirou o remake havia me conquistado na época de seu lançamento. Nela, o espanhol Sergi Lopez e a francesa Nathalie Baye interpretavam um casal que se conhecia por meio de um anúncio numa revista pornográfica. Ela, uma mulher madura, o havia colocado, pedindo um voluntário para satisfazer uma determinada fantasia sexual (que nunca ficamos sabendo qual era). Ele, um homem curioso, responde, e os dois marcam encontro num café. Dali, vão a um hotel, reservado por ela, e cumprem o misterioso desejo dela.

O caso dura alguns meses. Não se sabe ao certo quanto, porque a história é contada pelos dois, de forma posterior e separadamente, portanto as versões não coincidem. Por sorte, ou desafortunadamente, a relação evolui rapidamente para uma relação “normal”, e com ela, surgem os problemas de sempre. É preciso conhecer o outro, seus medos, conviver, adaptar-se, conceder, ser generoso. E para isso, nenhum dos dois está preparado.

Pelo resumo geral acima, percebe-se, trata-se de um drama. Um drama, quiçá, universal. Pois a montagem porteña “Una Relación Pornográfica” não vê a história assim. Se fosse só o caso de tratar com ironia essa que é a tragédia mais humana que há, tudo bem. O problema é que a peça tenta fazer humor a partir do roteiro, e é aí que se engana. Tudo acaba ficando “fake” demais, dos beijos às corridas para o quarto, dos encontros às escondidas à pose de cada um dos dois. E o tal “segredo” é tratado com tantos rodeios, que se transforma em algo ridículo.

A protagonista, vivida por Cecilia Roth, não logra encarnar a mulher madura charmosa vivida por Baye, e mais parece uma matrona que de repente descobriu um fetiche e tenta tratá-lo da forma mais “natural” possível. Já Dario Grandinetti assume bem seu papel, de homem meio aparvalhado pelas iniciativas da mulher. Os dois, porém, não fazem jus a terem sido dirigidos por Pedro Almodóvar (ela, em “Tudo Sobre Minha Mãe”, ele, em “Fale com Ela”). Falta sutileza e desenvoltura a ambos para tratar de temas tão sensíveis.

O fato é que, por uma hora e meia, me senti num dos teatros comerciais da rua Augusta. Público “mainstream”, achando que participava de um espetáculo “transgressor”, rindo abertamente de piadas que não existiam no dramático texto original de Phillipe Blasband, além do ambiente metido e dos caros ingressos. Por sorte, do lado de fora estava a charmosa avenida Corrientes, com seus cafés tradicionais e vai-e-vem de boêmios e passantes dos mais variados estilos. O “teatrão” se universaliza, por sorte as cidades resistem com sua personalidade.

 

 

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