O teatro de bonifrates em António José da Silva, o Judeu
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2010
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António José da Silva deixou-nos um acervo bibliográfico que prova a extrema importância dos seus escritos, no contexto do teatro de marionetas e do teatro em língua portuguesa em geral. Com este trabalho de investigação procuramos analisar o teatro do Judeu, o seu modus faciendi, a relação deste com outras criações artísticas e o envolvimento da Igreja em relação às suas obras. Do seu espólio contamos com as denominadas óperas joco-sérias, peças de teatro cómico musicadas para bonifrates. Estas comédias, oito no seu todo, viram as notas musicais escritas por António Teixeira, compositor que acompanharia o jovem comediógrafo até à sua morte na fogueira inquisitorial com apenas 34 anos. A sua escrita viria restaurar o género dramático português iniciado pelo mestre Gil Vicente, não fosse tão abruptamente interrompido pelas chamas do auto de fé de 1739.
O Judeu conhecia bem o teatro e o ensino que se praticava no país e nas academias regidas pelos jesuítas. O estilo dramatúrgico em prosa introduzido por António José da Silva, rompendo com o verso do teatro clássico espanhol, denota claramente a ânsia do comediógrafo em renovar a arte de Talma em Portugal. E, ao mesmo tempo que reformava o teatro de inspiração satírico-crítica, abria as portas do Teatro do Bairro Alto (até então sala exclusiva das actuações dos actores de carne e osso) aos seus bonifrates.
As marionetas (também designadas bonecos, bonecros, bonifrates ou títeres), pela diversidade de designações encontradas para definir a mesma figura, despoletaram outro item dentro do tema geral deste estudo. Destas várias denominações encontra-se o portuguesíssimo termo bonifrate. Estes bonifrates, utilizados no teatro do Judeu, apresentavam uma técnica de construção e manipulação próximas de outras figuras, nomeadamente, as imagens de roca. A madeira – material usado pelos santeiros para as imagens de roca – é também parte do material que António José da Silva usava, a par da cortiça e do arame para a construção dos seus bonifrates. Esta relação simbiótica que se estabelece através dos materiais usados na construção das duas figuras articuladas, profanas e sacras, tem eco também na sua finalidade, a apropriação mimética pela imagem, como se irá demonstrar.
António José da Silva has left us a body of literature that proves the extreme importance of his writings in the context of puppetry and theatre in Portuguese in general. With this research work, one has tried to analyze the theatre of the “Jew”, his modus faciendi, its relationship with other artistic manifestations and the involvement of the Church in relation to his work. In his collection one can find the “joco-sérias” operas, musical and comedy plays for puppets. The music for these eight comedies was composed by António Teixeira, a composer who followed the playwright until his death in the Inquisition’s fires at the age of 34. His writings which were to restore the Portuguese drama gender started by Gil Vicente, were suddenly interrupted by Inquisition flames in 1739. The “Jew” knew the kind of theatre and education taught in Portugal and in the colleges run by Jesuits very well. The new theatrical genre introduced by António José da Silva, moved away from the Spanish classical theatre, demonstrating the playwright’s will to renew the art of “Talma” in Portugal. Thus, as he reformed the satirical and critical theatre genre, he opened the doors of the “Teatro do Bairro Alto” (a theatre for human actors only) to his puppets. The puppets (also called “bonecos, bonecros, bonifrates or títeres” in Portuguese) and, consequently their various designations, also led to another issue within the general theme of this study. Amongst the several names bonifrate is the most common in Portuguese. The puppets used in the “Jew’s” plays had a construction and manipulation technique quiet similar to other figures, including the “roca” images. Wood – the material used by carvers for the “roca” images – was also used by António José da Silva, as well as cork and wire for the construction of his puppets. This symbiotic relation between materials used in the construction of both articulated figures, profane and sacred, was also echoed in his objective, the mimetic appropriation through image.
António José da Silva has left us a body of literature that proves the extreme importance of his writings in the context of puppetry and theatre in Portuguese in general. With this research work, one has tried to analyze the theatre of the “Jew”, his modus faciendi, its relationship with other artistic manifestations and the involvement of the Church in relation to his work. In his collection one can find the “joco-sérias” operas, musical and comedy plays for puppets. The music for these eight comedies was composed by António Teixeira, a composer who followed the playwright until his death in the Inquisition’s fires at the age of 34. His writings which were to restore the Portuguese drama gender started by Gil Vicente, were suddenly interrupted by Inquisition flames in 1739. The “Jew” knew the kind of theatre and education taught in Portugal and in the colleges run by Jesuits very well. The new theatrical genre introduced by António José da Silva, moved away from the Spanish classical theatre, demonstrating the playwright’s will to renew the art of “Talma” in Portugal. Thus, as he reformed the satirical and critical theatre genre, he opened the doors of the “Teatro do Bairro Alto” (a theatre for human actors only) to his puppets. The puppets (also called “bonecos, bonecros, bonifrates or títeres” in Portuguese) and, consequently their various designations, also led to another issue within the general theme of this study. Amongst the several names bonifrate is the most common in Portuguese. The puppets used in the “Jew’s” plays had a construction and manipulation technique quiet similar to other figures, including the “roca” images. Wood – the material used by carvers for the “roca” images – was also used by António José da Silva, as well as cork and wire for the construction of his puppets. This symbiotic relation between materials used in the construction of both articulated figures, profane and sacred, was also echoed in his objective, the mimetic appropriation through image.
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Dissertação de Mestrado em Ciências da Cultura - Especialização em Cultura e Artes