Beckett, um brasileiro: o teatro beckettiano no Brasil do século XXI

A recepção brasileira da obra de Samuel Beckett entrou o século XXI animada por uma profusão de montagens, estudos acadêmicos e novas traduções. A recente montagem de Fim de jogo, com Renato Borghi e Élcio Nogueira dirigidos por Isabel Teixeira; o espetáculo Moi lui, adaptação do romance Molloy para o palco, com Ana Kfouri, dirigida por Isabel Cavalcanti; e a série de performances, encenações e debates intitulada Ocupação Sozinhos Juntos, concebida e dirigida pelos Irmãos Guimarães, são três excelentes pretextos para pensar as condições e consequências da apropriação da obra beckettiana no contexto local e atual, propósito deste artigo.Palavras-chave: Samuel Beckett, Teatro, Recepção, Beckett no Brasil.Abstract: When considering Beckett’s reception in Brazil, one must sound at least a bit like Caliban. The necessary perspective is of one completely seduced by, yet at the same time rather suspicious and resentful of the compelling power of a master’s voice, even if not one’s master’s voice. How to avoid being converted into an echo chamber of such a prestigious, precise and alluring architecture of ruins? Is it at all possible not to be completely swallowed by his work, to read Beckett’s plays and prose from an interested, active, unusual point of view, but still preserve the spirit of his poetics, so strictly connected to the flesh of revolutionary form? So this paper concentrates on the twenty-first century century reception of Beckett in Brazil, namely, giving an account of three very recent local productions of his work: Isabel Teixeira’s Fim de jogo (Endgame); Isabel Cavalcanti’s Moi lui (based on Molloy); and Fernando and Adriano Guimarães’ Ocupação Sozinhos Juntos, all of them fully accomplished examples of the challenges involved in staging Beckett in a peripheral cultural context.Keywords: Samuel Beckett, Theater, Reception, Beckett in Brazil.