The work is in bookstores “Experimental Theater of the Black: testimonies and resonances”, originally organized by Abdias Nascimento (1966) and now recovered and expanded by sociologist Elisa Larkin Nascimento and cultural manager Jessé Oliveira.
Adias Nascimento (1914-2011) was an artist, activist, actor, federal deputy, playwright, economist, writer, poet, university professor and senator. In all roles, defended freedom and commitment to social transformation.
The book was released last spring (November), marking 80 years since the founding of the Teatro Experimental do Negro (TEN), for rehearsals in October 1944. The publication is by Edições Sesc, in partnership with Editora Perspectiva (328 pages).
The edition features texts by playwright Nelson Rodrigues, poet Efrain Tomás Bó, social scientists Guerreiro Ramos, Florestan Fernandes, among others. The book presents José Medeiros’ photo essay with black and white images of the TEN cast.
Protagonism
Created less than 60 years ago after the abolition of slavery, TEN aimed to value Afro-Brazilian cultural heritage, highlight stories and give protagonism to black authors and actors. Between 1945 and 1958, TEN staged more than 20 shows, with Brazilian and foreign plays, and revealed names such as Léa Garcia and Ruth de Souza.
“Who defined the themes [das peças]the texts [a serem encenados] and those who defined the direction of the actions were black people”, highlights Jessé Oliveira. “The Experimental Theater of the Negro It’s a watershed moment. It expands the space for debate on racial issues and establishes professionalism in a black theater company.”
In Elisa Larkin Nascimento’s assessment, TEN “bridges the gap between modern and contemporary theater in Brazil” and presents a version of Brazilian society that is different from the official discourse and part of the intelligentsia (sociologist Gilberto Freyre’s generation) that the country would be a “racial democracy”.
The new edition of the book has the objective of the original publication, to “make a more stable record” and contribute to avoiding the erasure of TEN’s history.
“At theater schools, they always come to me and tell me that they don’t know about Teatro Experimental do Negro. Including young people who are studying theater and studying the history of Brazilian theater”, laments Elisa Larkin Nascimento.
The work shows how Abdias’s conceptions continue to resonate in current performing practices and collectives, keeping the ideal of an anti-racist theater alive.
