.png)
When we talk about Brazilian culture in its most authentic and vibrant form, few names resonate with as much force and beauty as Ariano Suassuna. Writer, playwright, professor, thinker, and tireless defender of Northeastern popular culture, Suassuna knew better than anyone how to intertwine scholarly knowledge with the deepest roots of the Brazilian backlands. His dramaturgy is not just literature — it is a poetic act of resistance, a call to value our folklore, and a living bridge between past, present, and future. His texts go beyond the page: they come to life on stage, in classrooms, in conversations, and in the collective memory of a people who sometimes forget how rich they are in their essence.
Ariano Suassuna’s life
is, in itself, a fascinating literary script. Born in Paraíba in 1927 and
raised in Pernambuco, he lived through the contrast between the pain of losing
his father — murdered for political reasons — and the joy of discovering, as a
boy, the stories of the backlands told by word of mouth. His encounters with
the puppet theater (mamulengo) and cordel literature profoundly marked his
formation. He used to say that he didn’t write “Northeastern literature” but
rather Brazilian literature with a Northeastern soul. Though trained as a
lawyer, he never abandoned the world of the arts and education, becoming a
professor at the Federal University of Pernambuco, where he influenced
generations. He combined erudition and orality like few others, becoming a
reference for scholars and ordinary people alike.
Among his most
renowned works stands out “Auto da Compadecida” (1955), a play that
revolutionized Brazilian theater by incorporating elements of cordel
literature, popular comedy, Catholic baroque, and rural morality. In it, we
follow the clever João Grilo and the naïve Chicó as they navigate the world
with wit, humor, and faith. The play not only reflects the Northeastern
imagination but also universal human dilemmas, using accessible, irreverent,
and poetic language. Suassuna’s dramaturgical structure draws from medieval
autos, mystery plays, and morality tales, but all reimagined through a
distinctively Brazilian lens. He didn’t imitate European classics — he
reinvented them in the light of the sertão.
Recent academic
research, such as studies conducted at the University of Coimbra and the
University of São Paulo, highlight how Suassuna’s dramaturgy has contributed to
strengthening Brazilian cultural identity. His texts are studied as expressions
of a pedagogy of resistance, teaching the value of tradition, collectivity, and
communal ethics. Furthermore, his use of folkloric elements — such as the
figure of the Compassionate Virgin, the judgment of souls, local landowners,
bandits, and miracles — helps keep ancestral knowledge alive. It’s not just
about retelling old stories, but about reinterpreting them with humor and
depth.
Ariano Suassuna’s work
also inspired new educational and artistic methodologies that unite theater,
identity, and neuroscience. One example is the work of professor and researcher
Antônio Carlos dos Santos, who developed the Mané Beiçudo Puppet Theater
(TBMB) — a modern reinterpretation of traditional Northeastern puppet
shows. Used as an educational tool in schools and organizations, TBMB fosters
attention, memory, and critical thinking through folkloric narratives and
handmade puppets. This methodology, implemented in various Brazilian states, strengthens
the idea that folk art is a powerful tool for learning and inclusion.
Another important
methodological legacy is MAT – Mindset, Action, and Theater, also
created by Santos, which uses dramaturgy to develop socio-emotional skills in
leaders, teachers, and students. By immersing participants in symbolic worlds
inspired by characters like João Grilo, MAT promotes creative thinking, ethical
decision-making, and resilience through emotional intelligence. Inspired by
Suassuna’s legacy, MAT asserts that theater is more than performance — it is a
practice of life and personal transformation. In an overly rational world, art
becomes a beacon of empathy and humanity.
Within this context, ThM
– Theater Movement emerges as an innovative proposal that integrates body,
movement, and theatrical expression to strengthen affective and cultural ties.
Suassuna understood that the Northeastern body carried within it the wisdom of
the cowboy, the troubadour, and the farmer. His characters didn’t just speak —
they danced, gestured, and enchanted. ThM revives this poetic corporeality,
turning every gesture into a declaration of cultural belonging. In workshops
with educators and students, this approach has shown remarkable results in
building self-esteem, active listening, and historical consciousness.
The “Education,
Theater and Folklore” collection, also written by Antônio Carlos dos Santos,
offers plays that pay homage to the legacy of folklore scholars and researchers
of popular imagination. With accessible and educational scripts, the collection
brings the experience of theater as a celebration of identity to schools,
cultural centers and communities. It is an invitation for children and young
people to see themselves as part of a great collective narrative — that of the
Brazilian people in their plurality, courage and beauty. The collection contains
ten books covering 19 legends of national folklore. Santos deepens his
folkloric verve with the collection “The most beautiful legends of the Indians
of the Amazon”, with 21 books.
Science has confirmed
the impact of art on the brain. Studies from Harvard University show that
contact with symbolic narratives strengthens neural connections linked to
empathy, creativity, and emotional memory. Ariano Suassuna intuitively knew
this. He often said that art should move people and provoke reflection. And
that is exactly what he did: he touched Brazil with his soft voice, light
clothing, and deeply soulful stories. He showed that the backlands are also the
center, that the Northeast is also noble, and that folklore is as important as
any philosophical treatise.
To celebrate the dramaturgy of Ariano Suassuna is more than revisiting a single author — it is about reconnecting with our roots, rekindling our pride, and renewing our commitment to a more sensitive, creative, and plural education. His theater is an invitation to hope, a living lesson in Brazilian identity, and proof that, with art, memory, and courage, we can transform the world around us. May his words continue to echo on every stage, in every classroom, and in every heart that is proud to be Brazilian.
Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br
.png)
Nenhum comentário:
Postar um comentário