Vozes do Cruzêro: trajetos poéticos por uma cena cabocla.

Abstract

The main object of this research is the solo spectacle Vozes do Cruzêro and this creative process, developed and staged in an articulated dialogue between scenic practices linked to theater and two contemporary artistic expressions from the Zona da Mata Norte of Pernambuco brazilian state: 1) the Cavalo Marinho and 2) the Maracatu de Baque Solto. Among the operating principles identified along the creative path, the archetypal image of the Encruzilhada (crossroads) stands out, from which emerges the figure of the Caboclo, elected as the driving force of the process. The image of the Caboclo is studied and approached here through the recurrent manifestation of its presence in different religious and artistic practices of the Zona da Mata Norte: the Cavalo Marinho, the Caboclinho, the Maracatu de Baque Solto, the Umbanda and the Jurema Sagrada. The main objective of this study was to transform this poetic material, in associative dialogue to the scenic practices of the theater in the contemporaneity, and also to bring it to a solo staging, in which the author of the thesis acts as actor- director, translating the path of a cabocla scene that is an expression of what in the course was called cabocla epistemology. The research assumes a comprehensive and transdisciplinary artistic character, inspired by the approach to scenic creative processes proposed by Sonia Rangel, based on the intersection of thoughts from different strands, especially from the field of the Imaginary, in the perspective of thinking through images of Bachelard and Durand. In the field of scenic creation, poetic procedures are adopted inspired by the author's experience along with the proposals developed by the Lume Teatro, in dialogue with techniques and practices learned from the sambadores of Maracatu de Baque Solto and Cavalo Marinho. In the line Poéticas e Processos de Encenação do Programa de Pós-Graduação em Artes Cênicas (PPGAC-ETUFBA), the spectacle integrates the thesis not only as an illustration of a poetic thought, but as a material and immaterial result, whose scenic creation and dramaturgical writing share the same authorship and the same operating principles.