Há espaços que possuem voz própria antes mesmo de o primeiro ator pisar no proscênio. Adentrar o futuro Nu Cine Copan, desativado há quatro décadas e atualmente em reforma (leia-se, em ruínas), é participar de um acontecimento arqueológico. O pé-direito altíssimo, que revela a estrutura metálica de um mundo começando a se industrializar, impõe-se ao olhar. Mas é ao se sentar onde logo mais voltará a brilhar a tela de projeção que a mágica acontece: as paredes de tijolos e concretos aparentes ao fundo e a disposição evocam a majestade dos teatros romanos. O modelo arquitetônico dos templos da arte está ali, entre vigas e escombros, transformando a espera pelo espetáculo Hamlet, Sonhos que Virão em um rito de contemplação.
O desafio do diretor Rafael Gomes, portanto, era enorme: como ocupar um espaço que já é um acontecimento? A resposta veio em uma encenação desenhada para o formato tela gigante (widescreen mesmo!) e uma adaptação que opta pela emergência do agora à solenidade do clássico. Ao lado de Bernardo Marinho, Gomes ancora o espetáculo na tradução direta e coloquial de Aderbal Freire-Filho, Wagner Moura e Barbara Harrington. O texto, que preserva a complexidade shakesperiana sem se distanciar do espectador, serve de base para uma narrativa centrada no enigma de Hamlet, que se vê às voltas com um dilema moral e existencial.
A tragédia do príncipe da Dinamarca, confrontado com o fantasma do pai e a corrupção moral da corte de Elsinor, encontra no canteiro de obras do Copan um eco metafórico quase perfeito. Hamlet é o retrato da dúvida e da paralisia diante do agir. Nesta montagem, Gabriel Leone (um ímã para os jovens, sem dúvida) despe o personagem da tradicional melancolia intelectual para vestir uma fúria jovem, vulnerável e, por vezes, colérica. Ao se juntar à cávea (a estrutura semi-circular dos teatros romanos onde ficam os espectadores), o ator traz suas reflexões mais ocultas para serem compartilhadas com a plateia. Essa abordagem mais viva, que se completa com a iluminação e engenhosas e ágeis adaptações cenográficas, parece ter estabelecido uma conexão imediata com o público jovem que hoje habita o centro de São Paulo, resultando em sessões com ingressos esgotados e filas persistentes na porta do edifício. Já há algum tempo o Copan é um lugar descolado da capital.
Ao aproveitar com inteligência a geografia do antigo (futuro) cinema, utilizando inclusive a antiga sala de projeção (um andar acima e afastada da plateia), o isolamento, a dissimulação e os impasses internos dos personagens ficam evidentes. A destreza de Leone e o resto do elenco ao ocuparem esse palco monumental de 30 metros de largura reafirma a potência de ocupar espaços não-convencionais pela cidade. Ainda que o cinema ainda esteja em obras, o teatro já está de pé. A metáfora é clara: Hamlet, Sonhos que Virão fala de um Brasil que vai levar um tempo para sair do estado de ruínas deixado por quem, ironicamente, volta como ameaça real na política brasileira hoje.
A experiência de assistir à peça no Copan entre colunas e vigas expostas, chão de madeira improvisado, degraus irregulares, tudo isso sugere algo maior que o atual momento cultural. Tal qual o edifício projetado por Oscar Niemeyer, o teatro brasileiro parece eternamente lutar para se reerguer de suas próprias ruínas particulares. Ao ocupar tesouros escondidos de São Paulo com uma linguagem que, embora dialogue com um clássico de quatro séculos e reverenciada em diversas montagens (aqui, aqui e aqui), essa montagem soa profundamente contemporânea.
Somos o único veículo crítico e progressista dedicado exclusivamente ao jornalismo cultural, nas suas mais variadas frentes: livros, filmes, música, artes, teatro etc. Se você chegou até aqui é porque está do nosso lado. Ajude FAROFAFÁ a fortalecer o debate e a cultura brasileira.
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