Na imagem, o grande elenco da peça musical "Brasil em Revista", no Cine-Teatro Denoy de Oliveira, a sede do CPC-Umes
Na imagem, o grande elenco da peça musical "Brasil em Revista", no Cine-Teatro Denoy de Oliveira - Foto: Vitor Solemar/ Divulgação

Quem conta a história do Brasil? Não são os reis, os presidentes, nem os nomes que os livros didáticos consagraram. Em Brasil em Revista, novo espetáculo do CPC-Umes em cartaz no Cine-Teatro Denoy de Oliveira, essa pergunta ganha uma resposta de mais de cinco séculos, contada por quem historicamente foi excluído da narrativa oficial.

O nome aparenta remeter ao teatro de revista, gênero que teve nas décadas passadas suas vedetes de imenso sucesso (de Virgínia Lane, Dercy Gonçalves, Luz del Fuego à Wilza Carla) e seus compositores célebres, com produções em que o luxo era ostentado em grandes coreografias, cenários e figurinos. Mas Brasil em Revista está a décadas de distância desse gênero, e visceralmente em outro campo, numa matriz mais crítica. A montagem se apropria, aqui e acolá, do formato do teatro de revista menos para celebrar um Brasil grande e mais para escancarar que a narrativa nacional foi permeada por farsas entremeadas de tragédias: a principal delas de que a história sempre foi contada a partir da ótica dos vencedores, dos opressores, de quem controlava a massa popular.

A arte de resistência é citado e homenageado diretamente: o próprio Denoy de Oliveira, que dá nome ao teatro onde a peça está em cartaz, o CPC da UNE (perseguido durante a ditadura militar), o Teatro Opinião e o Teatro de Arena, palcos que historicamente se contrapuseram ao discurso dos tiranos. Trechos de obras ligadas a esses movimentos, como o Auto dos 99%, o Auto do Relatório e Doutor Getúlio, sua Vida e sua Glória (de Dias Gomes e Ferreira Gullar), aparecem incorporados à dramaturgia, assinada por Marcus Vinícius de Andrade, Valério Bemfica e Rebeca Braia. Em vez de se prender à remissão nostálgica, a montagem busca referências autenticamente populares da cultura brasileira, como samba, coco, marchinha de carnaval, maracatu, aboio, xote, bumba meu boi. No total, são cerca de 25 números musicais que tratam de recontar a história brasileira.

Na pequena sala da Rua Rui Barbosa, em São Paulo, o espetáculo explica e justifica o Brasil a partir de personagens nunca vistos como protagonistas, mas essenciais para que o País não tivesse descambado, ironicamente, para um modelo ainda mais entregue aos interesses estrangeiros que aqui sempre quiseram seu quinhão, dos portugueses aos ingleses, holandeses e norte-americanos.

Ao longo de oito quadros, a direção geral de Alexandre Kavanji reduz os papéis de Pedro Álvares Cabral e Pero Vaz Caminha, optando pela ênfase à invasão colonial; na resistência aos holandeses, quem ganha destaque são as mulheres de Tejucupapo; na Abolição, a voz é a de José do Patrocínio, não a da princesa Isabel. A transição dos episódios históricos, que corria o risco de se tornar fragmentada, flui como se fosse uma generosa folheada num livro de história imaginário.

O espetáculo é também uma homenagem aos 30 anos do CPC-Umes e culmina numa cena que revisita o 31 de março de 1964, quando a sede da UNE, no Flamengo, foi incendiada nos primeiros momentos do golpe militar, o fatídico episódio que destruiu o espaço onde funcionava o CPC da UNE. Para quem não se lembra, esse centro estudantil foi uma experiência vital para a cultura brasileira do período e para a resistência à ditadura em geral. É um fechamento que transforma a peça inteira numa espécie de elo geracional: o CPC-UMES de hoje falando diretamente com os CPCs que vieram antes dele.

A atuação do elenco, composto por 16 atores e atrizes, entre eles Adriana Coppi, Alexandre Krug, Rebeca Braia e Telma Dias, permite que a montagem sustente dezenas de personagens em revezamento constante. A banda ao vivo, formada por violão, trombone, percussão e acordeão sob direção musical de Léo Nascimento, dialoga com o coro do elenco, reforçando o caráter coletivo da montagem, inclusive na composição do próprio elenco, que mistura atores formados nas oficinas da Umes com veteranos já ligados à instituição.

A peça não se pretende ser majestosa, nem grandiosa. Aliás, ela não pretende ser algo que não é, uma visão meramente crítica de uma história mal contada, mas tem o mérito de mostrar que o Brasil errático de hoje é fruto de muitos erros do passado. Quem vai aos Estados Unidos vender o Brasil em 2026 faz parte dessa linhagem de entreguismo que sempre ocupou os espaços de poder em tons farsescos.

Atrizes que interpretam e cantam na peça “Brasil em Revista”, nova produção do CPC-Umes – Foto: Vitor Solemar/ Divulgação
Brasil em Revista. Direção de Alexandre Kavanji. Com o Centro Popular de Cultura da Umes. No Cine-Teatro Denoy de Oliveira, às quintas e sextas-feiras (19 horas) e sábados (20), até 12 de setembro. Entrada gratuita, com retirada de ingressos uma hora antes de cada sessão.

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