Cruel Fire on Honeymoon: existential tragicomedy

• Autor(a) principal: Martins, Bene
• Data de Publicação: 2018
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.51427/cet.sdc.2018.0017
• topic: Critics; Play; Performance; Tragic comedy; Nazareno Tourinho; Críticos; Peça; Performance; Tragicomédia; Nazareno Tourinho

This article is devoted to the analysis of a play created by the actor Cláudio Marinho, from Cia. Scenic Faith. A proposal of International Colloquium of Theatre Critics: Launching Dialogues: Critics of Art of Performance and Public Sphere, proposes to reactivate the dialogue with who is writing, creating the plays and of course with who is directing, and spectators. From my point of view critical studies about artistic realizations require to indicate the moment for enuncia‑ tion, when you talk, for whom and why a specific event to be staged is designated, so‑called, post‑staging. Cruel Fire during the Honey‑Moon (1976) highlights one couple: he is a bohemian, irreverent poet, she is an ultra‑religious social assis‑ tant, whose dialogues focus on a play of contradictions with an aim to expose existential questions, such as what is the meaning of life, where are my dreams, my wishes? Both, faced by the inevitable death, undergo surprising changes. Conflicts vary between drama and comedy exploring the nuances of reality, imagery, place for divergences, and practice of imagination. Due to the peculi‑ arities of theatre text, the conception of a director I identified elements which are used to put characters to stage, performance and involvement of actors into the characters and furthermore to demonstrate the belief of the author of the play Nazareno Tourinho in a change of a person thanks to the theatre   CRITICS / PLAY / PERFORMANCE / TRAGICOMEDY / NAZARENO TOURINHO