Temporada 2017
Autor: Macksen Rozario | Publicado: 2017-02-08T02:20:00-08:00


Crítica do
Segundo Caderno de O Globo (8/2/2017)



Crítica/ “O pão e
a pedra”




Um círculo sindical em torno de uma mãe coragem

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“O pão e a pedra” é mais uma afirmação cênica da estética
brecthiana e ideologia política que identificam e impulsionam a trajetória do
grupo paulista Companhia do Latão. O teatro é para a companhia, desde a sua
fundação em 1996, um ato intervencionista em realidade dividida em classes, praticado
como ação dialética, e diante do qual a dramaturgia assume função de
exemplificar e mobilizar. É sob este enquadramento que o diretor Sergio de
Carvalho estabelece, fiel aos princípios do coletivo, as bases político-dramáticas
para se debruçar sobre a greve do ABC paulista, em 1979. O movimento, que
paralisou as montadoras de automóveis, na vigência da ditadura militar, reuniu as
várias correntes do sindicalismo, com adesão de ala da Igreja e de estudantes,
está no palco em paralelo a exposição da vida de operária, uma mãe coragem. As
discussões sobre a linha de atuação ao longo da greve são acompanhadas por essa
personagem feminina que se torna uma contradição modelar entre a necessidade do
pão e a força da pedra. Os planos narrativos se interpõem em quadros
sequenciais, que se desdobram para explicitar papéis políticos e individualizar
consequências. Ao longo de 2h50, com intervalo de 15 minutos, a montagem patina
na superfície das transformações a que a mulher se submete diante do pretendido
didatismo do cenário grevista. O fluxo entre questões sindicais e reação
pessoal emperra no detalhamento excessivo de uma, e no acento melodramático de
outra. A síntese se perde nas intenções prolixas e se pulveriza na necessidade de
evidenciar a conclusão: “a luta continua”. A arena circense da cenografia de
Cassio Brasil determina a circularidade da ação e a música de Lincoln Antonio,
com direito a notas da Internacional Comunista, comenta o desenvolvimento dos
debates. Do elenco – Beatriz Bittencourt, Beto Matos, Érika Rocha, João Filho,
Rogério Bandeira, Sol Faganello e Thiago França, todos vivamente identificados
com a proposta do espetáculo – Helena Albergaria e Ney Piacentini têm
interpretações mais amadurecidas.&nbsp;