By edited by Aimara da Cunha Resende; language consultant, Thomas LaBorie Burns
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Extra resources for Foreign Accents: Brazilian Readings of Shakespeare (International Studies in Shakespeare and His Contemporaries)
I said that the road pointed out by Joracy Camargo, Oswald de Andrade, and Nelson Rodrigues had only been partially taken by the TBC. Regardless of its enormous importance, they were a company and a theater in Brazil, not a company and a theater of Brazil. Owing to their European roots, the foreign directors chose to work with what they knew best—which was, obviously, European dramaturgy—and there was no room for Brazilian playwrights. The actors were encouraged to cultivate a European acting style, and even their diction betrayed their rehearsals under the Italians since they spoke Portuguese with an Italian intonation.
The reading of this essay, mainly in countries where textual study is still rather new, will help not only directors, but also editors, translators, actors, and teachers of Shakespeare to realize how multiple are the playwright’s works and how open to new readings/productions. It seems to me that Brazilians really are on the way to artistic self-respect. We already have a national creative art. We no longer need to mediate. Grisolli’s, Ze´ Celso’s, Vilela’s, Hirsch’s, and others’ productions are here, holding their positions along with the work of Machado de Assis, Jorge Amado, Carlos Drummond de Andrade, Nelson Rodrigues.
Fera Ferida is an appropriation of the work of the Brazilian writer Lima Barreto or rather it hints at Barreto but distorts his work so much that there is little left that one could distinguish as being his. Barreto lived in the beginning of the century and was a confessed anarchist, disappointed with the military-political power of the newly established republic. Lima Barreto dealt with a lot of politics, ridiculed the army, and pointed to the brutally unfair treatment of women. He was not much concerned with romance and did not specifically go to Shakespeare for his arguments.