Literatura em outros suportes

Sylvia Colombo

O realizador catalão Marc Caellas já passou por São Paulo para apresentar “Los Críticos También Lloran”, dentro da Balada Literária. A obra era uma adaptação de um trecho do livro “2666”, de Roberto Bolaño, em que os personagens principais eram quatro críticos literários. A ideia era ironizar as mesas literárias de festivais do gênero, formato que Caellas considera desgastado.

Agora baseado em Buenos Aires, o diretor vem trabalhando com dois textos, “Entrevistas Breves com Escritores Hediondos”, de David Foster Wallace, e “El Paseo”, de Robert Walser. A primeira estreou na Fundação Tomaz Eloy Martinez, no bairro de Boedo, há mais de um ano. Aproveitando os espaços do que foi no passado a biblioteca em que primeiro trabalhou Jorge Luis Borges, a obra deslocava o público entre estantes de livros e um pátio ao ar livre no alto do edifício.

O mesmo texto agora é encenado num local mais intimista e menos alternativo, a Clasica y Moderna, tradicional bar e livraria no coração da avenida Callao, no bairro da Recoleta, que completou 75 anos de funcionamento. O elenco é formado pelos escritores Roni Bandini, Lucas Funes Oliveira, Guillermo Piro, Esteban Feune de Colombi e Martín Seijo, além da jornalista cultural Ivana Romero.

Trata-se de breves entrevistas realizadas por Romero, que não diz uma palavra, apenas escuta e reage com expressões faciais. Teoricamente, ela os está entrevistando, mas as conversas acabam virando uma investigação sobre os padrões masculinos com relação a relacionamentos.

Primeiro, Romero encara um conquistador prestes a abandoná-la, que se perde em circunlóquios e lugares-comuns destas situações. Depois, um praticante do sado-masoquismo que a quer conquistar. Na sequência, um sujeito que discorre sobre a sexualidade masculina em tempos de metrossexualismo. Por fim, um homem que se diz apaixonado, mas que deve ir embora. A história termina num balcão do bar, com uma cena tipicamente masculina. Dois homens conversam e um conta ao outro que conquistou uma mulher que estava chorando a partida de um amante. O interlocutor primeiro solidariza-se com ela e recrimina o amigo, para no fim considerar que está tudo bem e pedir o telefone de uma amiga dela.

Ao usar escritores em vez de atores, Caellas transporta o texto para uma discussão sobre a linguagem e a construção desses discursos, com os quais muitas pessoas da plateia se identificarão, mas que poucas vezes refletiram sobre como se estruturam. Ao deixar a entrevistadora sem poder dizer nada, expõe-se a armadilha a que se prestam, a de aniquilar o outro, mesmo que, em muitos casos, pareçam discursos formados de palavras vazias.

São muitas as questões que propõe Caellas. Além da discussão sobre os discursos, os padrões do comportamento masculino, está um debate literário sobre a forma de apresentar um texto. Não se trata de uma peça teatral em seu formato mais clássico, tampouco é uma simples leitura. Depois, está o desafio aos espaços. Na Clasica y Moderna, a encenação começa dentro do bar, mas tem seu clímax em plena rua, quando um casal sai e passa a discutir entre os transeuntes comuns.

Caellas está tentando levar seus projetos ao Brasil. Esbarra, porém, em questões de estrutura e orçamento. Também, na dificuldade de apresentar uma ideia que não se encaixa na estrutura tradicional de uma peça ou de uma simples leitura teatral. Agora que São Paulo está se transformando numa cidade ainda mais cosmpolita, seria um bom momento para receber ideias alternativas diferentes para seus espaços tradicionais, como esta.

 

 

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