Parem!!!!!

A ordem de parada é destinada a tortura da campanha política. Hoje, tentei dar uma volta no Brique da Redenção, mas os jingles de candidatos nos carros de som passavam de 100 decibéis ou a sensação era essa. Não obstante isto, as insistências de santinhos para quem já tem candidato e não quer mudar o voto. Gostaria que o dinheiro aplicado em campanhas políticas tivesse um percentual de investimento de 20% nos problemas mais urgentes das cidades. Parem, por favor. Divulguem seus candidatos sem agredir o meio-ambiente e os meus tímpanos. Façam uma campanha mais limpa ou então larguem este osso, porque ninguém agüenta mais esta poluição visual e sonora. E que vença o melhor!

Entrevista com Eimuntas Nekrosius, diretor de Fausto

Esta entrevista foi feita por e-mail com o diretor lituano Eimuntas Nekrosius e publicada parcialmente na edição de domingo, 14, do jornal Correio do Povo. Nekrosius é diretor de Fausto, uma das cinco atrações européias do 15º Porto Alegre Em Cena, festival que terminou agora há pouco no Theatro São Pedro, com a escolha do 3º Braskem em Cena, com três prêmios para A Comédia dos Erros, do Studio Stravaganza (melhor espetáculo, melhor diretor para Adriane Motolla) e melhor ator (Carlos Alexandre). Heinz Limaverde e Sandra Possani, de A Megera Domada, foram respectivamente melhores ator e atriz. Heinz dividiu o prêmio com Carlos Alexandre. O Oigalê levou o júri popular com o espetáculo Miséria Servidor de Dois Estancieiros.

Acompanhe agora a entrevista com Nekrosius feita em inglês na semana passada

Luiz Gonzaga Lopes

1. We know Eimuntas Nekrosius was defined "a some kind of genious" by Arthur Miller when he visited Vilnius. Why he say this expression? Make some sense?
Miller visited Vilnius some 30 years ago or more. It was important visit for our theater, as his words said after he saw our performances played at that time opened the world for our theater. We started tour the world opening new festivals and countries with each year. I think just the time could define what is good in the arts, though in case of theater... I don‘t know if it‘s possible at all. Other arts are more powerfull and longlife – literature, paintings...


2. How are the main charateristics of this play "Fausto"?
In this performances we tryed with actors to go deep into the soul, thoughts of the man. The Man, doctor Faust, who is searching all his live, trying to find an answers to the questions that never leaves him quite. What is the world? Who is man in this life? What is the reason of human beeing? Even Goethe in his poem doesn‘t give any answers to these questions. So, we also don‘t give any recepies what is right or not. But for me was interesting to exame the beauty of the process of the research it self. As long as the man is acting, searching for the answers – he is alive and reasonable. When he stops – he dies.


3. Our people is specially connected with your two other plays presented in Porto Alegre - Hamlet e Othelo. Say us if it seems like that plays in estetic e language therms.
I don‘t follow any school of theater and also don‘t have my own fixed system of the work in the theater. Choosing the literature base for the new performance I look for the specific, unique theatrical language, that allows to speak and recover the main ideas of the drama in the most free way. Copearing with Shakespeare dramas Faust, may be, is more ascethic. In Othello and Hamlet we had castles, armies, ships, etc. Here we have Faust‘s study, Grethen‘s room, the cavern, jail... So, the main and most important „events“ happen inside of the Faust. Though of course these are all my performances, some actors are the same and I never run out of my self.


4. Could you talk about this trilogy.
Actually what was called by theater critics as a Trilogy is Hamlet, Macbeth and Othello, but I had no plans to create a Trilogy. Somehow it happened. I don‘t have a kind of long term plans what to stage next 5 or 10 years. Just finishing one show start to think what do to next.


5. How about your career and about your way of direct plays.
I said already, that I don‘t have any specific system. Just try to read the literature very carefully and understand what the author wanted to say and what could be interesting and actual for the modern people. Then we go to the rehearsals and try if it works or not.


6. Do you know Brazilian plays nowadays?
I‘m sorry, but I really don‘t know Brazilian theater well. It would be not honest to make any comments.


7. Tell us your concern or comments about Porto Alegre em Cena.
I have never been at the festival myself. But from the words of my actors I could understand that it‘s really great event, one of the most important that we had visited in South America. And of course always looking to the program of the festival, to the number of the theaters presented... it‘s very impressive. So each time having an opportunity to join the program of the festival we are happy to do it.