Ariano Suassuna

[Paulo Dantas - CASAXV]

Aryan Vilar Suassuna was born in Ours Lady of Snows, today João Pessoa (PB), in 16 of June of 1927, son of Cássia Villa Suassuna and João Suassuna. In the following year, its father leaves the government of the Paraíba and the family starts to live in the hinterland, in the Acauhan farm. With the revolution of 30, its father was assassinated by reasons politicians in Rio De Janeiro and the family changed itself for Taperoá, where the 1937 liveed of 1933. In this city, Aryan made its first studies and attended for the first time a part of mamulengos and a challenge of viola, whose character of “improvisation” would be one of the registered marks also of its teatral production. From 1942 he started to live in Recife, where he finished, in 1945, the secondary studies in the Pernambucano Gymnasium and the Oswaldo College Cross. In the following year he initiated the Law school, where Hermílio Borba knew Son. E, together with it, established the Theater of the Student of Pernambuco. In 1947, it wrote its first part, a dressed sun woman. In 1948, its part Sings the harps of Sião (or the deserter of Princess) was mounted by the Theater of the Student of Pernambuco. The adobe men were mounted in the following year. In 1950, he formed themselves in the Law school and received the Martins Prize Penalty for Auto from João the de a Cruz. To cure itself of pulmonary illness, he saw himself obliged to change itself of new for Taperoá. There he wrote and he mounted the part Tortures of a heart in 1951. In 1952, the 1956 come back to inhabit in Recife.De this year, dedicated the law to it, without abandoning, however, the teatral activity. They are of this time the punishment of the magnificent one (1953), the rich miser (1954) and the Auto one of the Felt sorry one (1955), part all projected that it in the country and that it would be considered, in 1962, for Sábato Magaldi “the text most popular of the modern Brazilian theater”. In 1956, he abandoned the law to become professor of Aesthetic in the Federal University of Pernambuco. In the following year the leery marriage was staged its part, in São Paulo, for the Cia. Sergio Cardoso, and the saint and the nut; in 1958, its part was staged the man of the cow and the power of the richness; in 1959, the penalty and the law, awardee ten years later in the Latin American Festival of Theater. In 1959, in company of Hermílio Borba Son, it established the northeast Popular Theater, that mounted after that the Humbug of good laziness (1960) and the caretaker and the Catherine (1962). At the beginning of years 60, it interrupted its successful career of dramaturgo to dedicate the lessons to it of Aesthetic in the UFPe. There, in 1976, it defends the free-docência thesis of the chestnut Ounce and the Brazil Island: a reflection on the Brazilian culture. One retires as professor in 1994. Charter member of the Federal Advice of Culture (1967); nominated, for Director Murilo Guimarães, director of the Department of Cultural Extension of the UFPe (1969). On directly to the culture, it initiated in 1970, in Recife, the “Movement Armorial”, interested in the development and the knowledge of the traditional popular forms of expression. It convoked expressive names of music to look to an erudite music northeastern who came to join it the movement, launched in Recife, in 18 of October of 1970, with the concert “Three Centuries of Music Northeastern - of the Baroque one to the Armorial" e with an engraving exposition, painting and sculpture. Secretary of Culture of the State of Pernambuco, in the Government Miguel Arraes (1994-1998). Between 1958-79, he also dedicated himself to chats of fiction, publishing the Romance d´A Rock of the Kingdom and the Prince of the Blood of Go-and-Return (1971) and History d´O beheaded king in caatingas of the hinterland/To the sun of the Caetana Ounce (1976), classified for it of “Brazilian armorial-popular romance”. Sixth occupant of the Chair nº 32, elect in 3 of August of 1989, the succession of Genolino Loved and received in 9 from August of 1990 for the Academic Landmarks Vinicios Vilaça. Member of the Academy Paraibana de Letras and Doutor Honoris Causa of the Federal University of the Rio Grande of the North (2000). Source: www.academia.org.br WORKMANSHIPS: • A dressed Sun woman (1947). • They sing the harps of Sião or the deserter of Princess (1948). • The adobe men (1949). • Auto of João de a Cruz (1950). • Tortures of a heart (1951). • The Desolate arc, (1952). • The punishment of the magnificent one (1953). • Auto of the Felt sorry one (1955). • The Saint and the Nut - the leery marriage (1957). • The man of the cow and the power of the richness (1958). • The Penalty and the Law (1959). • Humbug of good laziness (1960). • The caretaker and the Catherine (1962). • The Rock of the Kingdom (1971) • History of the Beheaded King in caatingas of the hinterland (1977). • Conchambranças of Quaderna, (1987). • The Romance d' The Rock of the Kingdom and the Prince of the Blood of Go-and-Return, (1971). • The saint and the nut. The leery marriage (1974). • The History of Love of Fernando and Isaura (1994). • The History of Love of Romeu and Julieta (1996). • The rich miser • The punishment of the magnificent one • To the sun of the Caetana Ounce Interviews interview made for Márcio Marciano and Sergio de Carvalho in 1998, the “Vintém Magazine”. Spanish theater I wrote poetry, and I was it [Hermilo Borba Son] who I started to stimulate me to write theater. Also when I knew Hermilo I already I had made my first poems, based on the popular romance. There it said: “Aryan, you he needs to write for theater, and you he needs to know the theater of Garci'a Lorca”. For my poetry it found that I went to find in Lorca a guide, a older brother, because before I had attemped an experience with theater, but much boy, with dezessete years of age. But when Hermilo placed me in the hands the theater of Lorca, there it was a revelation. Because the world of Lorca seemed mine, it was a world of horses, bulls, gypsies and things similar to the hinterland. There I started to write theater. I wrote my first part for order of it, stimulaton and insistence of it. I remembered the failed experience, but I said there: “We go there, we go to try”. E was there that I made a dressed Sun woman. In the first version of a Dressed Sun Woman the influence of Lorca is noticed very present, and not only of Lorca, also of other Spanish authors for which I had been magic at the time. Alejandro Casona, for example, this without speaking in the classics, as woollen Calderón Bark, that very exerted a great influence on me. Also later that I was coming close itself much more to Calderón, Lope de Vega and Cervantes of what of Garci'a Lorca. But Lorca was who indicated the way. Baroque theater I find baroque a very important thing for Brazil. On my vision, good part of the great Brazilian artists is still based on the baroque one today. Normally the baroque word is used in the pejorativo direction. For me it is not. The great thing of the baroque one is that it is a style of art and a vision of the world, that if characterizes for the unit of the contrary, what it is very important for Brazil. [...] the religious side of the baroque one has its counterpart in that I was calling picaresco style. I auto taste very of the sacramental one. I taste very of the auto one of the vicentina line, where if it joins the religious thought to a comic and satirical vision. For this if it corrects this excess of idealismo for a realistic risk, of the same skill that happens in Quixote, that is an idealistic citizen: Sancho the flame the land of time in when. Twine literature My interest for theater appeared in the circus. Because I was a boy sertanejo, of the interior, and the first spectacles of theater that I saw had been in the circus. [...] In the circus I also knew a clown who if called Gregorio, marked who me very. [...] I have for me that these things, together with the twine brochures, had been very important in my formation of dramaturgo. Studies THE AUTO ONE OF FELT SORRY AND THE STYLE OF TIME The theater, that is, the teatral text is a cultural, different form of other cultural forms that have in the text its vehicle of communication. One has asked for teatral, therefore, is not the same thing that a romance, a story or a poem, these last indicative of another cultural form, Literature. In general lines, the theater very receives an impact bigger from the conditionings of data historical moment, from what, on the other hand, it receives literature. These impacts if reflect in the thematic one, in the treatment of the subject, the properly teatrais techniques (cenarização, cenografia, rhythm, illumination, etc.). On the other hand, one has asked for teatral can discover reasons of creation in other modalities these that can or not interest Literature. A tragedy of Squirrel, conceived in the structural elements of the culture classic Greek, can acquire a modern interpretativa roupagem, and, as representation of a text, perfectly assimilable being for the public contemporary, becoming with this a modern part. Great dramaturgo Brazilian, Guillermo de Figueiredo, composed a series of texts of the Brazilian theater modern, that consist of the imposition of new " roupagem" the determined subjects of the culture classic Greek. In summary, when we try to verify the one that time style if binds a teatral text, we will have to make it, not in function of valid criteria for Literature, but in function of possible criteria for the history of the theater. In this direction, we verify that Auto of the Felt sorry one it presents the following elements that allow the identification of its participation in one determined style of time of the Brazilian cultural evolution: 1- The text is considered as an auto one. Inside of the tradition of the culture of Portuguese language, the auto one is a modality of the medieval theater, whose subject is basically religious. To thus Paula understood it Vicente, son of Gil Vicente, when it published the texts of its father, in century XVI, commanding them prin