Traduo Elsinore 2017 ou o Hamlet da Armazm Companhia de Teatro

Margarida Gandara Rauen (Margie), UNICENTRO1

Guilherme Augusto Souza Prado2

Este trabalho oferece uma anlise da traduo cnica de Hamlet, dirigida por Paulo de
Moraes e produzida em 2017, por ocasio do aniversrio de 30 anos da Armazm Companhia de
Teatro, com3 Patrcia Selonk (Hamlet), Luiz Felipe Leprevost (Horcio/Rosencrantz/Loba),
Isabel Pacheco (Gertrudes), Ricardo Martins (Claudius), Marcos Martins (Polonius/Coveiro),
Lisa Eiras (Oflia) e Jopa Moraes (Laertes/Guildenstern/Ator) no elenco.4

The present work aims to analyse

As montagens de Hamlet na Amrica Latina e no Brasil so notveis por ressignificarem

os impasses de diferentes pocas e polticas (MODENESSI & RAUEN, 2014), alm de marcarem
espaos transfronteirios ou zonas de contato multicultural. Silviano Santiago situa o lugar de
enunciao literria latino-americano, [...] entre a assimilao do modelo original, ou seja, entre
o amor e o respeito por obras escritas no passado, e a necessidade de produzir um novo texto que
desafia e frequentemente nega a fonte (SANTIAGO, 2000, p. 21). Paulo de Moraes passou a
integrar esse processo ambguo e histrico de reescritura ao afirmar que Hamlet, quando
comparado aos trabalhos autorais durante as trs ltimas dcadas, proporcionou menor relao
afetiva, embora o processo criativo tenha mesclado admirao e provocao na sua proposta ...
de teatro poltico potico e comunicativo5.

1
Ph.D. em Teatro, Michigan State University, E.U.A. Aposentou-se como professora Associada do
Departamento de Arte da UNICENTRO e permanece docente colaboradora do Programa de Ps-graduao
em Educao (PPGE). Orientadora na linha de pesquisa Educao, Cultura e Diversidade. Lder do Grupo
de Pesquisa em Artes da UNICENTRO. Global Shakespeare Fellow - 2017 e Visiting Fellow, University
of Warwick, UK 2017-2018. E-mail: margierauen.br@gmail.com
2
Psiclogo, mestre e doutor em Psicologia Clnica e Subjetividade com trabalhos em torno da relao
entre enlouquecimento, sade e processos de criao artsticos. Professor na Universidade Federal
Fluminense e psicoterapeuta em consultrio particular. E-mail: guispra@gmail.com
3
Aps estria e temporada no Centro Cultural do Banco do Brasil, no Rio de Janeiro, de 16/06 a
06/08/2017, com patrocnio da Petrobrs e do Banco do Brasil, a pea iniciou circulao nacional no
Brasil no segundo semestre de 2017. Para maiores informaes consulte o website da companhia em
<https://www.armazemciadeteatro.com.br/>
4
Ficha tcnica disponvel no Apndice XXX???
5
Todas as informaes pertinentes ao processo de criao foram obtidas em entrevista concedida
primeira autora deste artigo, da qual participaram o diretor Paulo de Moraes e o elenco, aos 26/07/2017.
 ------------------------

Hamlet, madness and fearless speach

A focus of light exposes the manikin-body-object in the first scene of the Armazm
Companhia de Teatros Hamlet. A scenographic panel recreates Elsinore on a facade similar to a
castle/fortress entrance gate, threshold between fictional environments exterior and interior sides.
Soon, Hamlet/father/king/ghosts projection and voice revels the fratricide act, calling for revenge
on the Hamlet/son/prince/orphan. William Shakespeare's play follows its plot, although the
exposed theatricality and audience scenes bring to us the Brechtian approach and instigate
constant detachment from the audience (Figure 1).

Figure 1: "the death of my beloved brother is green ..." Claudius is placed as a

successor King on the Court. Hamlet, Warehouse theatre company, 2017. Courtesy of John
Gabriel Monteiro (photographer).

The fact that men were doing female roles and the hypothesis of feminization implied a
anti-realist and anti-theatricality game in Shakespeare Theatre (LEVINE, 1994), recreated in
Loba by Luiz Felipe Leprevost for Paulo de Moraes, a character of man performed by woman
generates another layer of strangeness in our historical time. With such theatrical gender shifts, it
brings the notion about Foucauldians madness from the consequence of the aggressive
responses and shameless of the Hamlet of Patricia Selonk, because the short drama by Mauricio
Arruda Mendonca and Paulo de Moraes enlightened unique effects in the representation of
madness in which we must ask: what kind of madness is that?

From the psychoanalysis point of view, several authors have taken Hamlet as a
metaphor. Freud (1928/2002) saw in the Prince, traces of Oedipuss love for his mother, Gertrude,
an interpretation hard criticized by Bloom (2000), among others. However, Roudinesco and Plon
(1998) temporized this reading to argue that while Oedipus represents the ancient hero, in the
tragedy of revelation that symbolizes the universal unconscious, disguised as a destination,
Hamlet is the modern hero and act the drama of repression, referring to the birth of a guilty
subjectivity, in times whose contemporary conceptions of world is turned upside down. Jacques
Lacan (1986) considers the Prince as a character composed of empty space, providing a place to
our ignorance, and taking the ignorance as a unconscious persofication.
 Therefore, we assume that psychoanalytic interpretations is based on certain design
phenomena and internalized mental disorder, based that Hamlet would be a universal
representation of the oedipus conflict, a representation of the drama of repression from which
was born the subjectivity guilty or an empty place in which the unconscious is
presentified. Avoiding the Psychoanalytical approaches, we usually go back to Foucauldians
studies to have another look about madden. ((since the disquieting effect that the relevant text and
this Assembly.)) REVISAR

The various historically forms of madness, even book reviews, suggest why Hamlets
madness is so distinct from the contemporary experience of mental illness, highlighting what
constitute and make it different, and suggesting the consequences of this difference. A way from
the negativity of disease and unreason, put what appears as Princes madness next to an attitude
of life linked to the radical truth experienced and claimed by him, which agitates the scene from
the play and move their actions also in the interpretation of Patricia Selonk.

By analyzing the case of King George III, the mad King of England, the first class of
course mental power, Foucault (2012) refers to the situation in two other Shakespearean
characters, Richard III and King Lear, to compare with that of the 18th-century mad King . There,
the Frenchman is keen to point out the differences between the situation of George III and the
Kings of Shakespearean dramaturgy the first, threatened to fall under the power of another
sovereign and deposed of your sovereignty and condemned to solitude and misery that
identify what Foucault (1979) named tragic experience of madness. George III is not under
another sovereign, he is doomed to be set at a specific point for a power that is no longer the King
but the alienist. The fixation that makes the King George III fell under the alienist is the same one
that alienates your will and your freedom in the figure of the doctor. Nevertheless, the authority
of this power is no longer the divine authority that legitimizes the sovereignty of absolute
monarchy. On the contrary, the King is submitted to the alienist authority as a result of the
patriarchal conception of man, as subject and Lord of himself, which sets the limits and the nature
of the people and their actions serving as grounds for the different fields of knowledge and modern
power . In other words, the noble sovereign power is overshadowed by the wonder and power of
the experts who are holders of the truth and commands of the worldly things. Because it is from
the patriarchal conception of man, operated by disciplinary micropowers - distributed between
the professor, the policeman, judge,the doctor and the other figures of the intricate bureaucracy
scans the life, the people and their actions. 6

6
Mas a modernidade, cuja transio realizada entre a Revoluo Francesa (que tem na figura de
Pinel um deputado constituinte e o primeiro especialista, fundando a psiquiatria moderna) e
Napoleo caracterizada pela aplicao racional dos poderes, sob a forma de saberes
especializados, sobre os indivduos.

The inherent fold of the empirical-transcendental subject characterizes Foucaults

modernity. There, the conception of sovereignty take us to an abstract subject, source of the
power. But modernity, whose transition is carried out between the French Revolution (having
Pinel as a constituent deputy and as the first specialist of Ocidental history, founding modern
psychiatry) and Napoleon, is characterized by the rational application of the power, using the
form of specialized knowledge about the individuals. The operation of power capillarization and
the individualization of every person are typically of modern times, so, it has nothing to do with
the legal-political conception of sovereign subject, located in the time Foucault calls classic era
(between the end of the 16th century and beginning of the XVIII). This is the touchstone of the
book Les mot et les choses (FOUCAULT, 2000).

At the same time, condition and effect of exercise of micropower that characterizes the
alienism as one of the many areas of the disciplinary authority in counterpoint to the absolutist
ruler power, such fixation is a expression of the psychological internalization of separation
reason-unreason establishing the guilty and the control by the authority. The maneuver that
deploys and organizes the identity (with the possible sanity or the possible mental illness) at the
psychological interiority of the individual is what defines insanity in terms of status, structure and
meaning through a patriarchal paradigm. Such a conception of man, according to Foucault (2000),
rearranges the European social-political world between the 18TH and the 19TH century, being
from a model of autonomy modelled of humanist philosophy and the application of know-power
over the people.

No cabe, no escopo deste artigo, resenhar os desmembramentos do iderio patriarcal at

o presente, mas com efeito, Foucault (1975, 1979, 2000) insiste na imprescindibilidade de uma
antropologia, de um saber sobre o homem padro, para a converso da loucura em doena mental.
 It is not the task of this article to review patriarchal ideals dismemberments that lasts
until the present moment in history, but, in fact, Foucault (1975, 1979, 2000) insists on the
indispensability of a philosofical anthropology, a sort of knowledge about the standard man, for
the conversion of madness into mental illness. It is an ordered field capable of defining what man
is, making madness an expression of man forms variability, referring to the finitude and
limitation of experience by empiricities. Such finitude delimits the good use of psychological
faculties and the citizenships individual inscription characterized as good use of freedom in the
new social order. Therefore, defined by instincts and desires automatism and determinism,
mental illness is inscribed in the moral and social order, dominated by the physician, as a lack of
freedom - decal of the impossibility of seeing madman as responsible for his actions. Alienated
from his wills, desires, and freedom, madman loses himself distancing of his own nature and truth.

Alienated from his truth as a person, the truth of the mentally ill is the truth of what is
unreasonable, but in Hamlet everything is justified and thats why he can not be considered a
mental patient. Patricia Selonk's interpretation corroborates and reiterates the sobriety of the
character, whose anxieties, anguish and martyrdom provoke empathy and justify to us her actions
since the beginning of the play, when Claudius and Gertrude dance and, in their hall performance,
so to speak, legitimize the royal couple before the court. In this scene, the prince of Selonk wears
sunglasses, as if the action obfuscated him as he watches his mother/queen and uncle/king, before
enunciating the soliloquy "If this solid flesh ..." (Figure 2), making the text flow in the performatic
context, beginning from the contradictions that the prince faces.

Figure 2: Claudius and Gertrude dance. Hamlet, Armazm Companhia de Teatro, 2017. A
courtesy: Joo Gabriel Monteiro (photographer).

In sequence, Patrcia Selonk's direction and choreography reinforce a grunge rebellions

atmosphere, especially in the princes and Horacios compositions, such as the concert-piece
represented by them or their postures and visual slaves ESCRACHADOS (Figure 3).

Figure 3: Piece inside the piece. Hamlet, Armazm Companhia de Teatro, 2017. A courtesy: Joo
Gabriel Monteiro (photographer).