{"id":4632,"date":"2012-03-14T18:05:58","date_gmt":"2012-03-14T18:05:58","guid":{"rendered":"http:\/\/teatrodovestido.org\/?page_id=4632"},"modified":"2018-04-21T07:24:31","modified_gmt":"2018-04-21T06:24:31","slug":"texto","status":"publish","type":"page","link":"http:\/\/teatrodovestido.org\/blog\/?page_id=4632","title":{"rendered":"Texto"},"content":{"rendered":"
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Carta-Oceano<\/h1>\n

Primeira resid\u00eancia criativa no\u00a0Festival Escrita na Paisagem<\/strong>\u00a0\u00a0em Alvito| Agosto de 2007
\nSegunda resid\u00eancia criativa e Estreia no\u00a0Convento do Carmo em \u00c9vora<\/strong>\u00a0no \u00e2mbito doFestival Escrita na Paisagem<\/strong>| Setembro de 2007
\nEstreia no\u00a0Pavilh\u00e3o 27 do Hospital J\u00falio de Matos<\/strong>\u00a0| 31 de Outubro a 1 de Dezembro de 2007
\nApresenta\u00e7\u00e3o\u00a0Instituto Franco-Portugu\u00eas<\/strong>\u00a0no \u00e2mbito da Festa da Francofonia | 13 de Mar\u00e7o 2008
\nDesenvolvido em colabora\u00e7\u00e3o com direc\u00e7\u00e3o de Joana Craveiro e\u00a0 interpreta\u00e7\u00e3o de\u00a0 Gon\u00e7alo Alegria, Joana Craveiro e T\u00e2nia Guerreiro.
\n\u00a0<\/em>
\nA carta-oceano n\u00e3o \u00e9 um novo g\u00e9nero po\u00e9tico<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00c9 uma mensagem pr\u00e1tica de tarifa regressiva e muito<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0mais barata do que um telegrama<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (\u2026)<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Vou servir-me dela durante a travessia do Atl\u00e2ntico<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Sul entre Dakar e Rio de Janeiro para enviar mensagens<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0para tr\u00e1s porque s\u00f3 pode ser utilizada neste sentido<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 A carta-oceano n\u00e3o foi inventada para fazer poesia<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Mas quando se viaja quando se negoceia quando se<\/em>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 est\u00e1 a bordo quando se enviam cartas-oceano<\/em>
\nFaz-se poesia
\nBlaise Cendrars in,\u00a0<\/em>Folhas de Viagem<\/em><\/p>\n

Carta-Oceano \u00e9 o resultado de um projecto de pesquisa alargado que denomin\u00e1mos Projecto Blaise, no qual nos propus\u00e9mos investigar a vida e obra do poeta Blaise Cendrars e transformar os materiais resultantes dessa pesquisa num objecto performativo. Esse objecto \u00e9 Carta-Oceano, um espect\u00e1culo-manifesto, \u00e9pico-pol\u00edtico, trabalho experimental em que Blaise Cendrars passou de mote a personagem, e regressou a mote \u00e0 medida que cada um dos intervenientes assumia o seu papel enquanto agente criador do espect\u00e1culo.<\/p>\n

Primeiro procur\u00e1mos saber sobre o que era o nosso espect\u00e1culo. Fizemos apresenta\u00e7\u00f5es sobre isso, uns para os outros. Era uma longa lista em que cada frase se iniciava com \u201c\u00e9 sobre\u2026\u201d. Depois investig\u00e1mos e debatemos diariamente as nossas descobertas. Um de n\u00f3s desenhou num mapa o percurso do transiberiano (do qual Blaise Cendrars fala em \u201cA Prosa do Transiberiano\u201d). Outro ditou cartas; outra fez uma instala\u00e7\u00e3o; outra fez um percurso gastron\u00f3mico. Depois fomos para est\u00e1gio\/ resid\u00eancia.<\/p>\n

Numa casa perto do Alvito encen\u00e1mos cada noite o \u201cJantar dos Tios\u201d, inspirado no poema de Blaise Cendrars \u201cO Panam\u00e1 ou a Aventura dos Meus Sete Tios.\u201d Volt\u00e1mos ao percurso do Transiberiano, descobrimos o poema \u201cCarta-Oceano\u201d quando l\u00edamos o livro\u00a0Folhas de Viagem<\/em>\u00a0de Blaise Cendrars numa casa meio submersa na Barragem do Alvito. Escrevemos cartas-oceano pessoais para nos treinarmos; aconteceu num passeio nocturno no Alvito.\u00a0Vimos uma estrela cadente enorme e todos reagimos em un\u00edssono. Comovemo-nos.<\/p>\n

Fizemos uma apresenta\u00e7\u00e3o dos materiais constru\u00eddos ao longo da semana, na Biblioteca Municipal de Alvito, onde acab\u00e1mos a trocar hist\u00f3rias com o nosso p\u00fablico dessa noite. No dia seguinte, regress\u00e1mos a Lisboa.<\/p>\n

Improvis\u00e1mos intensamente durante uma semana e escrevemos na parede o princ\u00edpio de uma estrutura. Cham\u00e1mos ao resultado desta semana \u201cTerminal.\u201d Este corresponde hoje \u00e0 segunda parte do espect\u00e1culo. Onde a viagem se revela em todas as suas vertentes, mesmo nas mais negativas. Onde a mem\u00f3ria, as refer\u00eancias pessoais de cada um e o cruzamento das suas ansiedades se combinam na constru\u00e7\u00e3o de um n\u00e3o-lugar num n\u00e3o-tempo, que \u00e9 ao mesmo tempo todos os lugares e todos os tempos. Ou n\u00e3o representasse a viagem tudo isso. A viagem espa\u00e7o de representa\u00e7\u00e3o. Na parte chamada \u201cTerminal\u201d, destru\u00edmos as representa\u00e7\u00f5es idealizadas e mostramos o avesso das fantasias.<\/p>\n

Por entre viagens que fizemos durante o processo, d\u00favidas, procuras e pesquisas, aus\u00eancias, regressos, o livro\u00a0Poesia em Viagem<\/em>, de Cendrars, era o nosso porto de abrigo, o local aonde regress\u00e1vamos na procura de estrutura, de coer\u00eancia, de sentido.<\/p>\n

Quando Carta-Oceano se come\u00e7ou a assumir enquanto fragmento de hist\u00f3rias, cenas e ambientes, compreendemos como deveria ser o nosso estar, compreendemos o nosso pr\u00f3prio processo e pudemos finalmente fazer o mapa da nossa metodologia at\u00e9 ent\u00e3o. Foi quando abandon\u00e1mos a ansiedade e come\u00e7\u00e1mos a habitar tudo o que t\u00ednhamos constru\u00eddo. Foi como ter recebido um visto de resid\u00eancia.<\/p>\n

Hoje, falamos de Carta-Oceano como um pa\u00eds-percurso cheio de acidentes, paragens e terminais. Uma zona de perguntas e de possibilidades. De afirma\u00e7\u00f5es contradit\u00f3rias. De uma exposi\u00e7\u00e3o mascarada pela ironia e pela perplexidade que sentimos por habitarmos os lugares que habitamos. Por sermos quem somos. Por continuarmos. Apesar de tudo. Acreditamos que Carta-Oceano \u00e9, na sua ess\u00eancia, um espect\u00e1culo optimista.<\/p>\n","protected":false},"excerpt":{"rendered":"

Homophobia appear to be a dominant theme that runs through much of rap music, or at least it appears that way to someone with easy to access . surface adidas yeezy boost 350 facts. Is this true and if so, … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":3737,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4632","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/pages\/4632"}],"collection":[{"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4632"}],"version-history":[{"count":37,"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/pages\/4632\/revisions"}],"predecessor-version":[{"id":8846,"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/pages\/4632\/revisions\/8846"}],"up":[{"embeddable":true,"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=\/wp\/v2\/pages\/3737"}],"wp:attachment":[{"href":"http:\/\/teatrodovestido.org\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4632"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}