Vereda da Salvação e Terra para Rose: interfaces entre a escritura documental no teatro e no cinema

Abstract

This study has set out to investigate the documental form of the drama text Vereda da Salvação (1957-63) by Jorge Andrade and the film Terra para Rose (1987) by Tetê Moraes. The existing proximity between the aesthetics construction of both works allows the establishment of relation-ships between them, considering that, although they make part of distinct artistic forms, both are moulded within the aesthetic convention of the documentary and question the same theme con-tent. In Vereda da Salvação, the figurative content belongs to a messianic-millenary outbreak occurred in the countryside of Minas Gerais. During the Holy Week of 1955, tem families of ag-gregates converted to the Adventism of Promise, who worked under an agreement of partnership on São João da Mata farm owned by José Aarão Queirós, get involved in a collective mystical delirium and kill four children in order to set them free from a supposed demonic possession. In Terra para Rose, the film plot represents the taking over of the Annoni farm, occurred in 1985, by landless rural workers from Rio Grande do Sul. In the eighties this was one of the two thou-sand conflicts for the possession of land in Brazil. The film projects in first act the trajectory of Rose, landless rural worker, who dies in a manifestation of rural workers on March 31st 1987. The particularities of these happenings is the starting point for Jorge Andrade and Tetê Moraes reach the social, economic and political issues that involve the Brazilian rural situation. Note that the documentary genre comes up in the fifties as an answer to the fragmented form of facts pre-sented in the media, so that the formal elements that make up the poetics of the documentary aims at inserting the social episodes within the plot of the chain of factors that propelled them. Thus, this dissertation has attempted to exploit the correlations between history and fiction in the folds of the documental aesthetics in the drama text and in the film production. It has also investigated the formal aspects of the works and how they articulate syntactically to figurative content. From the comprehension that the portraits of the world depicted by the documentaries on screen, that distance temporarily thirty years from each other, do not present as inseparable ele-ments among themselves, they are analysed as shared frontiers, for both the struggle against the supernatural in Vereda da Salvação and the struggle for land in Terra para Rose testify the ag-gravation of the rural issue in Brazil, an unfinished theme in the national panorama.