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Additional resources for Foreign Accents: Brazilian Readings of Shakespeare (International Studies in Shakespeare and His Contemporaries)
The reading of this essay, mainly in countries where textual study is still rather new, will help not only directors, but also editors, translators, actors, and teachers of Shakespeare to realize how multiple are the playwright’s works and how open to new readings/productions. It seems to me that Brazilians really are on the way to artistic self-respect. We already have a national creative art. We no longer need to mediate. Grisolli’s, Ze´ Celso’s, Vilela’s, Hirsch’s, and others’ productions are here, holding their positions along with the work of Machado de Assis, Jorge Amado, Carlos Drummond de Andrade, Nelson Rodrigues.
The production of A Tempestade in 1981 was under the charge of a semi-professional company, Gente de Casa, who ignored Boal’s main ideas and techniques; and the music was composed by someone called Manduka, who remains unknown to this day. I believe that to be fair to Boal’s A Tempestade, besides watching a good or at least a competent production of the play, one should also have in mind the difficult situation of the Latin American writer described by Silviano Santiago as living ‘‘between the love and respect for what has already been written and the necessity to produce a new text which should confront the old and very often deny it’’ (1978, 25).
In Critical Theory Since 1965, ed. Adams Hazard and Searle Leroy. Tallahassee: Florida State University Press, 1986, 410–13. Matta, Roberto da. Carnavais, Malandros e Hero´is. Rio de Janeiro: Zahar, 1983. ———. A Casa e a Rua. Sa˜o Paulo: Brasiliense, 1985. Retamar, Roberto Ferna´ndez. Caliban e Outros Ensaios. Trans. Maria Elena Matte Hiriart and Emir Sader. Sa˜o Paulo: Busca Vida, 1988. Rodo´, Jose´ Enrique. Ariel: Brevia´rio da Juventude (1900). Trans. Hermes da Fonseca Filho. Rio de Janeiro, Companhia de Livros e Pape´is, 1926.