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DE RUTH DE SOUZA E DO TEATRO
EXPERIMENTAL DO NEGRO
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OBJETIVOS
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perceber os limites enfrentados pelos afrodescendentes na sociedade brasileira da primeira metade
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Ruth de Souza, atriz.
(Fontes: http://www.abril.com.br)
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mento, escritor, ex-senador e fundador do Teatro Experimental do Negro;
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os personagens afrodescendentes indicados compartilharam dos mesmos
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ativismo negro brasileiro. Por isso nossa aula se inicia e conclui com o seu
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(Fontes: http://www.antaprofana.com.br)
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aspas, indicando ser um discurso literal da atriz Ruth Pinto de Souza. NasFLGDHPGHPDLRGHQD&LGDGHGR5LRGH-DQHLURÀOKDGH$OD\GH
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do qual Ruth de Souza, ao lado de outros nomes, foi uma das principais
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Talvez por isso Ruth de Souza descreva o surgimento de sua carreira como
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sua estreia fez parte de um fato inusitado, para os palcos e telas do Brasil da
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Estudos recentes indicam serem os entraves de ordem racial para os
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cidade assumia o status de importante centro cultural e de entretenimento.
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artista sem visibilidade nas orquestras dos teatros, localizados no fosso ou
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e estrelarem nos teatros, circos e cervejarias em um contexto de cultura de
massa nascente. Contudo nomes como Ascendina Santos e Rosa Negra, duas
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mas brilhante entre os anos de 1926 e 1927 (BARROS, 2005, p. 26-27; 31).
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dos, Cuba, Martinica e Brasil (BARROS, 2005, p.14). E foi nesse contexto
cultural que se deu o surgimento da Companhia Negra de Revistas no dia
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Ruth de Souza, os poucos artistas afrodescendentes estavam restritos a esVHVHVSDoRV$MRYHPVyS{GHFRQFUHWL]DUVHXVRQKRSRUTXHPHVHVDQWHV
de sua estreia, fora criado um grupo de teatro experimental voltado para
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Aula
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2635,0(,526$126'($78$d®2'27($752
EXPERIMENTAL DO NEGRO
Fundado em 1944 na cidade do Rio de Janeiro, o TEN surgiu com o obMHWLYRGH´UHVJDWDUQR%UDVLORVYDORUHVGDSHVVRDKXPDQDHGDFXOWXUDQHJUR
africana, degradados e negados por uma sociedade dominante que, desde os
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congressos, concurso de beleza, o jornal Quilombo entre outros (SIVA, 2005).
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do Nascimento, a face mais estudada.
A ideia de fundar um grupo de atores negros teria ocorrida a Abdias do
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caricaturas. No caso de haver uma personagem afrodescendente de maior
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de preto (NASCIMENTO, 2004, p. 209)
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Uma narrativa sucinta, mas muito similar foi apresentada por Ruth
de Souza ao referir-se ao impacto vivido por Abdias do Nascimento ante
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assim como fora o Teatro dos Estudantes do Brasil ou a Companhia de Maria
Della Costa. Ao que parece essa vertente falou mais alto para a integrante
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autoestima e de maiores oportunidades para os afrodescendentes. A narUDWLYDQmRVHHQFDPLQKDQDGLUHomRGRJUDQGHPHGRGHRQWHPHGHKRMHR
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160
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muito importante [...],acho uma das coisas mais importantes que Abdias
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Dulcina, Henriette Morineau, e sem mais nem menos dizer [que] era atriz e que
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formar uma companhia de teatro. A jovem Ruth dirigiu-se ao encontro deles
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1997. p.204). A estreia do grupo em sua primeira montagem foi na noite do
dia 8 de maio de 1945, do palco do Theatro Municipal, no centro do Rio de
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Segunda Grande Guerra Mundial e a derrota do regime nazista.
Aula
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que estavam na ABI. Tinham jornalistas que iam para o trabalho, e os que
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primeiros passos no circuito cultural da Cidade do Rio de Janeiro e na arte de
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como um ponto de encontro, onde seus frequentadores passavam ao entrar
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ativismo negro e no comunismo (SILVA, 2009).
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O escritor Nelson Rodrigues, amigo de Dona Ruth de Souza, e frequentador do Vermelhinho, em 1948 concedeu uma entrevista para o primeiro
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racial nos palcos brasileiros, Nelson Rodrigues parece sublinhar o quanto
o teatro brasileiro ainda tem a crescer e o quanto o negro como personagem, tema e artista podem contribuir para esse processo. Contudo sua
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´$QMR1HJURµ1HOVRQ5RGULJXHVSUHIHUHGHL[DUFODUDVXDRSomRHPQmR
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pelo Estado Novo.
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Aula
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Analisamos o contexto social onde emergiu o grupo Teatro ExperimenWDOGR1HJURQDGpFDGDGHFRPRREMHWLYRGHREVHUYDUHPTXHPHGLGD
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seus palcos. Naturalmente trata-se do mote fundador do Teatro Experimental do Negro. Tomamos como ponto de partida a narrativa da atriz de
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DWUL]DQWHVGHLQJUHVVDUQR7(17DPEpPFRQVLGHUDPRVDVSRVVLELOLGDGHV
SDUD RV DUWLVWDV DIURGHVFHQGHQWHV QD GpFDGD GH DSUHVHQWDGDV QD
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o surgimento do Teatro Experimental Negro. E o depoimento de Nelson
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RESUMO
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XX, quando do surgimento do Teatro Experimental do Negro. Enfatizamos
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palcos brasileiros para os atores afrodescendentes. Tomamos como ponto
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VREUHRVHXGHVHMRGHVHWRUQDUDWUL]DQWHVGHLQJUHVVDUQR7(17DPEpP
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&KRFRODWRQGHRDXWRUQRVUHYHODTXDLVIRUDPDVUHVWULo}HVOLPLWHVHSRV
VLELOLGDGHVSDUDRVDUWLVWDVDIURGHVFHQGHQWHVQDGpFDGDGH$ERUGDPRV
DVYHUV}HVGH5XWKGH6RX]DH$EGLDVGR1DVFLPHQWRSDUDRVXUJLPHQWR
GR7HDWUR([SHULPHQWDO1HJURHPIXQomRGDIDOWDHVSDoRQRVSDOFRVSDUD
RVDWRUHVDIURGHVFHQGHQWHV7DPEpPDQDOLVDPRV´+iSUHFRQFHLWRGHFRU
QR7HDWUR"µSDUDRSULPHLURQ~PHURGRMRUQDO4XLORPER2QGHRGUDPD
turgo corrobora com os argumentos dos atores do Teatro Experimental
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ATIVIDADES
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2. Observe as duas telenovelas protagonizadas por atrizes afrodescendentes, Cama de Gato e Viver a vida e ainda Tempos Modernos. Observe se o
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aos indicados pelo IBGE.
3. Leve os dados obtidos ao encontro com a tutoria e discuta-os redija uma
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possibilidades dos atores afrodescendentes no universo das artes da
sociedade brasileira.
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$872$9$/,$d®2
Sou capaz de compreender os limites enfrentados pelos afrodescendentes na sociedade brasileira, em especial por aqueles que pretenderam
ingressar no universo das artes?
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COSTA, Haroldo. Ruth de Souza por Haroldo Costa. Rio de Janeiro:
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-(6860DULDÇQJHODRuth de SouzaDHVWUHODQHJUD6mR3DXOR,PSUHQVD
2ÀFLDOGR(VWDGRGH6mR3DXOR
6,/9$-~OLR&OiXGLRGD5HODo}HVUDFLDLVJrQHURHPHPyULDDWUDMHWyULD
de Ruth de Souza entre o Teatro Experimental do Negro e o Karamu House
([DPHGH4XDOLÀFDomRGH'RXWRUDGR33*+8))
6,/9$-~OLR&OiXGLRGDO nascimento dos estudos das culturas africanas,
o Movimento Negro no Brasil e o antirracismo em Arthur Ramos (19341949)'LVVHUWDomRGH0HVWUDGR3URJUDPDGH3yV*UDGXDomRHP+LVWyULDGD
Universidade Federal Fluminense.
1$6&,0(172 $EGLDV GR 7HDWUR H[SHULPHQWDO GR QHJUR WUDMHWyULDH
UHÁH[}HV(VWXGRVWKGH$YDQoDGRV. 2004, vol.18, n.50, pp. 209-224.
'LVSRQtYHO HP KWWSZZZVFLHOREUSGIHDYQDYSGI!
acesso em 05/1/2010.
167