Imagem dos atores Sergio Mastropasqua (Édipo), Clarisse Abujamra (Jocasta) e Rodrigo Scarpelli (Creonte).
Os atores Sergio Mastropasqua (Édipo), Clarisse Abujamra (Jocasta) e Rodrigo Scarpelli (Creonte), que encenam Édipo - a partir de #Sófocles - Foto: Ronaldo Gutierrez/ Divulgação

Como uma tragédia escrita 2.500 anos atrás continua a explicar, com uma precisão cirúrgica, o colapso de um homem de poder no século 21? Essa é a pergunta que atravessa Édipo, do dramaturgo britânico Robert Icke, montagem do Círculo de Atores que estreou no Auditório do Masp sob direção de Clara Carvalho. Icke, que já havia adaptado Arthur Schnitzler em A Médica e Friedrich Schiller em Mary Stuart, ambas também vistas em São Paulo nos últimos anos, é daqueles dramaturgos que traduzem os clássicos para o presente sem trair sua arquitetura original. Aqui, Édipo Rei de Sófocles vira um político em véspera de vitória eleitoral, casado com Jocasta e cercado por Creonte, seu assessor mais próximo. Icke preserva as unidades clássicas de tempo, espaço e ação. Como tudo se passará numa única noite, no comitê de campanha, a queda antes mesmo da ascensão se torna algo insuportavelmente rápido, como se o desastre já estivesse contido em cada minuto que passa.

Na cenografia (Chris Aizner), telas de TVs dispostas na vertical do teatro introduzem o personagem Édipo como um político arrogante, senão demagogo, que está não só confiante de sua vitória, como já assume o discurso da vitória. Ao começar a encenação, essas TVs iniciam um relógio em contagem regressiva. Ele é um alerta constante e insistente de que algum tipo de ápice está por vir.

O curioso é que o espectador já sabe, de cor e salteado, que Édipo dormiu com a própria mãe, mas se saberá que o que há mais de perturbador nesta peça não é a fatalidade em si. Icke reorganiza a história para que a revelação ainda doa. A dramaturgia funciona como um romance policial às avessas. Não é o “quem”, mas o “como se sabe” que produz a tensão, eis o mérito do texto.

A inovação digna de nota nessa releitura do clássico por Icke é dar voz a Jocasta. Pela primeira vez nessa história milenar, ouvimos dela o relato de ter sido abusada por Laio ainda aos 13 anos, engravidado, e ter dado à luz o próprio algoz do destino que tentava evitar. Ao abandonar o filho recém-nascido na floresta, Jocasta não comete um crime. Ela tenta, à sua maneira ainda que brutal, dar uma segunda chance a Édipo. É uma inversão de perspectiva que muda o eixo moral da tragédia. Jocasta deixa de ser coadjuvante da desgraça do marido para se tornar a primeira, e talvez única, personagem que age por amor e não por orgulho.

Clarisse Abujamra faz o papel de uma mulher apaixonada e fiel ao marido, mas conforme a trama vai sendo elucida ela acaba por dar o desfecho final como um golpe seco. É quase uma segunda condenação de si própria. Já Sergio Mastropasqua, como protagonista, constrói sua queda aos poucos e todas as suas convicções desmoronam por serem, justamente, frágeis. Creonte (Rodrigo Scarpelli) herdará o poder não sem uma ponta de satisfação.

O politico, aqui, não erra por vilania. Erra por excesso de confiança em si mesmo, de quem tinha a certeza de que um homem hábil o bastante pode negociar até com o próprio destino. É esse traço que aproxima o texto Édipo de Robert Icke à política contemporânea sem precisar de nenhuma alegoria óbvia. A demagogia não cai por escândalo financeiro ou traição pública, mas por uma sina que estava adormecida, esperando o momento de campanha mais exposto para explodir.

Não é a primeira vez que Clara Carvalho e o Círculo de Atores, sob a produção de Rosalie Rahal Haddad, colocam personagens em situação de julgamento público e colapso moral no Auditório do Masp. Em O Dilema do Médico, de Bernard Shaw, já era a confraria masculina, composta de médicos vaidosos, carniceiros ou charlatães, que se revelava fraca e imoral diante de uma mulher decidida. Em Hedda Gabler, era a protagonista quem se afogava na mediocridade burguesa de um destino escolhido por outros. E em A Médica, ainda de Icke, Clara Carvalho vivia Ruth Wolff, destruída não por um erro, mas por uma decisão ética solitária amplificada pela fúria das redes sociais.

A peça Édipo de Robert Icke fecha, de certa forma, esse ciclo. É a história de um homem, não uma mulher, que desmorona. O que se verá no no Masp não são personagens que caem por serem maus, mas por acreditarem demais em si mesmos, num mundo que não perdoa certezas. A trilha sonora original de Gregory Slivar, já testada em Hedda Gabler e A Médica, volta a operar como personagem dramático nesta montagem. A cada revelação, sons tensionam o que está por vir. Desta vez, contudo, não há música ao vivo, como nas outras produções. Mas a música funciona para antecipar ou sublinhar as viradas da trama.

Édipo, a partir de #Sófocles. De Robert Icke, com o Círculo de Atores. No Teatro do Masp, sextas-feiras e sábados (20 horas) e domingos (18), até 6 de setembro. Ingressos a 120 reais.

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