O trágico em trânsito: reescrituras de Antígona em Jorge Andrade e Ângela Linhares

Abstract

In the essay “Breves observações sobre o sentido e evolução do trágico” Bornheim (2007) stresses that studying the ancient and modern allows us to try to understand the essence of the tragedy, since the comparison with the Greeks makes it possible to assess not only the direction of tragic evolution in the Western theater, but also measure what remains constant and what differs from that constant. In view of this, this research aims to analyze traces of the tragic in two Brazilian rewrites of Sophocles’ tragedy Antigone (c.442 B.C): three versions Pedreira das Almas, by Jorge Andrade, respectively published in 1958, 1960 and 1970, and O Caldeirão de Santa Cruz do Deserto e Outras Poéticas do Amor (2017) by Ângela Linhares. For this purpose, a reading of the tragic as a category, dimension or ontological reflection was chosen, especially the one developed by Friedrich Wilhelm Joseph von Schelling in the tenth of the Cartas Filsóficas Sobre o Dogmatismo e Criticismo and in the Filosofia da Arte. The pieces that make up the corpus of this research bring the character Antigone to the foreground, presenting it as a figure of political resistance against social oppression in periods of historical rupture, which can be attested from the context in which dramatic action the Pedreira das Almas is set during the Revolta Liberal de 1842 and O Caldeirão de Santa Cruz do Deserto e Outras Poéticas do Amor presents strong imbrications with the massacre that took place in the Caldeirão de Santa Cruz do Deserto, in the Cariri region of Ceará, at the end of 1930s. Both selected works are part of the “Catalog of Our Dead: Traces of Antigone in Brazil (1914-2019)”, prepared between 2017 and 2019, which also includes forty-six Brazilian versions of the daughter of Oedipus in the most different manifestations. In order to establish a dialogue between Greek tragedy, modern tragedy and tragedy, among the theoretical contributions, the following authors were used: Albert Camus (1970); Albin Lesky (2015); Alvaro Lins (1964); Aristóteles (2015); Bertolt Brecht (2005); Friedrich Wilhelm Joseph von Schelling (2010); Georg Wilhelm Friedrich Hegel (2014); Gerd Bornheim (2007); Gilson Motta (2011); Jacqueline de Romilly (2013); Jean-Pierre Sarrazac (2017); Jean-Pierre Vernant (2014); Patrice Pavis (2015); Peter Szondi (2011), Tiphaine Samoyault (2008).