Livro Cenografia Brasileira
Veja abaixo a resenha na íntegra feita por Luiz Henrique Sá na publicação internacional, Theater and Design da editora Routledge e alguns trechos traduzidos.
Tradução de trechos:
…”Fica claro através da leitura do livro, que para Serroni, o ato de ensinar e desenhar são inexoravelmente relacionados. A sua escola é a realização de seu sonho de um laboratório constante para estudar cenografia e áreas correlatas, e teve um impacto significativo na formação de cenógrafos profissionais no Brasil. Sua pedagogia permeia o livro e fica claro que seu trabalho como cenógrafo e formador interagem continuamente entre si.”…
…”Serroni lamenta a falta de políticas públicas que apoiem o teatro, resultando em um pobre suporte tecnológico para as produções teatrais, a dificuldade em manter companhias teatrais a longo prazo, a falta de edifícios teatrais de alta qualidade e um número muito limitado de publicações teóricas, históricas e técnicas enfocadas na cenografia. Serroni está fazendo sua parte e Cenografia Brasileira: notas de um cenógrafo não é apenas um livro sobre cenografia, mas, também, um registro de uma vida dedicada à arte e à formação e um tratado político de um artista apaixonado que busca constantemente elevar o nível do artista cenógrafo no seu país.”
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Book Reviews, Cenografia Brasileira: notas de um cenógrafo.
Theater and Performance Design Vol 1, Issue 1-2, 2015
SOBRE O LIVRO:
Ao pensar nos principais elementos que compõem uma peça de teatro, logo vêm à cabeça o texto, o diretor e os atores. Mas um espetáculo requer mais do que isso: a começar pela cenografia.
Afinal, como montar a atmosfera de uma história sem um ambiente propício? E é justamente para falar deste elemento que J. C. Serroni organizou o livro ‘Cenografia brasileira – Notas de um cenógrafo’.
Reconhecido internacionalmente, o cenógrafo reuniu escritos e imagens fundamentais para a memória e a compreensão da atual produção cenográfica do país. O livro é resultado de uma profunda pesquisa, e condensa conhecimento e experiências acumulados em mais de quatro décadas de ofício.
Mais do que fazer um registro, Serroni traça um panorama da história da sua profissão e discorre sobre épocas de raros relatos da produção, entre o início do século 20 e os dias atuais, e destaca o perfil de 31 dos seus pares de profissão, entre eles Flávio Império, Luiz Carlos Mendes Ripper, Gianni Ratto e Gabriel Villela.
Os seguintes temas são abordados: cenografia brasileira desde os seus primórdios até hoje; cenógrafos e experiências anteriores à década de 1940; cenografia analisada década a década de 1940 a 1990; cenografia de festivais; exposições e centros de estudos; a situação do profissional cenógrafo; e cenógrafos mais representativos nacionalmente.
Serroni é um dos mais ativos profissionais de sua área. Além criar cenografias para diversos espetáculos, óperas e shows, ele coordena cursos de técnica de palco e de cenografia e figurino na SP Escola de Teatro. Também já foi curador e presidente do júri de prêmios importantes, como a Quadrienal de Praga, e é um dos editores do projeto “World Scenography Book”.
Autor: J.C. Serroni
Editora: Sesc – 2013
Especificações: Brochura | 392 páginas
Dimensões: 240mm x 240mm
“Cenografia Brasileira – Notas de um cenógrafo”, é o segundo livro lançado por J.C. Serroni. Na obra, o renomado profissional passeia pela história da cenografia nacional por meio de textos, imagens e ilustrações.”
Brazil has long held an important place in international scenography. Twice – in 1995 and 2011 – it was awarded the Golden Triga, the grand prize of the Prague Quadrennial (PQ). The first award-winning exhibition at the PQ was coordinated by three designers: Daniela Thomas, José de Anchieta and José Carlos Serroni. Serroni, long considered one of Brazil’s most important designers, has now written a beautiful volume: Cenografia brasileira: notas de um cenógrafo (Brazilian Scenography:
Notes of a Scenographer). As the word ‘notes’ in the title suggests, this is not a scholarly work, but rather the observations of a practitioner whose career spans more than 35 years, the last 20 of which have also been dedicated to the training of new designers at his own school, the Espaço Cenográfico (Scenographic Space).
Serroni is an artist with a modernist vision of set design who believes that all the elements of a performance should be harmoniously integrated, with no single component dominating. He is constantly attempting to achieve a synthetic design, and this is the message he transmits to his students, to his readers and to his audiences. His position serves as an interesting counterpoint to some recent publications that have sought to present scenography as an increasingly independent art. He begins with the term scenography itself, repeating his own definition, first published in Pamela Howard’s book, What is Scenography?: ‘Scenography is the dramatization of space, always complemented by the acting’ (287). He clearly understands that the actor is the central element of theatrical performance, and that scenography is a fundamental support for the acting process. Serroni’s goal is to dispel the (false) notion that scenography is something monumental or spectacular; for him, its value lies primarily in its ability to convey meanings.
In his preface Serroni writes, ‘In the following pages, readers will find one history of Brazilian scenography’ (italics in the original). This is not intended simply as an encyclopaedic work, but the vision of a scenographer whose artistic subjectivity directly influences his research – and this is a major attraction of the book: a great
scenographer talking about great scenographers. The book is divided into two parts.
The first, reflecting his role as a teacher, revolves around issues related to theatrical scenography, which are a direct result of the author’s teaching experience. The second section of the book is dedicated to the careers of 31 set designers who Serroni feels had an important impact on Brazilian scenography after 1943, when one can first speak of scenography as an autonomous art in Brazil.
The first chapter, ‘Scenography: Principles, Recommendations and Precautions’, deals with notions of scenography that Serroni has been reflecting on over the last three decades, which he hopes will help the reader ‘understand the nature of this language’. The second chapter, ‘The Precursors of Brazilian Scenography’, has two sections. In the first, Serroni weaves a history of Brazilian scenography from the start of the twentieth century until 1943 and the production of Nelson Rodrigues’ play Vestido de Noiva (Bridal Gown), directed by Zbigniew Ziembinski with a revolutionary design by Tomás Santa Rosa, who split the stage into three planes, breaking with the scenic realism and illusionism of painted flats. This landmark production, considered to be the starting point of modern Brazilian theatre, boosted the interest in set design, encouraging artists and architects to branch out into scenography. The second half of the chapter continues the story to the present.
The third chapter is about the Brazilian participation in the Prague Quadrennial. For many years Serroni was the tireless curator of Brazil’s exhibitions at the PQ. At more recent Quadrennials, others have taken on these responsibilities, perhaps reflecting new directions in Brazilian scenography. But this distance from the event
allows Serroni to reflect on his curatorial experience. ‘Can scenography be exhibited?’ he asks. Serroni’s efforts are a clear indication that the answer is yes.
His work in organizing these exhibitions has helped make Brazilian scenography known throughout the world.
This first section also provides a platform for Serroni to ruminate on the place of professional training. ‘How is it possible’, he asks, ‘that a country which receives the most important award of the Prague Quadrennial has scarcely any schools in this field?’ As becomes clear throughout the book, for Serroni teaching and designing are inextricably related. His school is the realization of his dream of an ongoing laboratory to study scenography and related fields, and has had a significant impact on the training of professional designers in Brazil. His pedagogy suffuses the book, and it is clear that his work as a designer and as an educator continuously informs
each other. The section concludes with a commentary on some of the most important exhibitions of scenography held in Brazil in the last two decades. Taken as a whole, this section demonstrates the evolution of Brazilian design during this period.
Part II is entitled ‘My Encounters with Great Brazilian Scenographers’, thus emphasizing the personal aspect of the book. This is not a dry, scholarly examination of the topic but one based on practice and personal experience. The 31 artists are presented alphabetically, thereby defying any chronological, thematic or stylistic
hierarchy. For each designer Serroni provides biographical material and anecdotes, major productions, exhibitions and awards and a personal assessment of the work.
The list includes Santa Rosa, Flávio Império, Cyro Del Nero, Lina Bo Bardi, Helio Eichbauer and Daniela Thomas.
The book is lavishly illustrated with photos of productions and set models, drawings and sketches by the designers, and also beautiful illustrations, made by the author, for performances for which visual documentation was unavailable.
One wishes that many of the images could have been larger to allow a greater examination of the details. And since the English text is at the back, divorced from the images, English-language readers will have to flip back and forth in the text.
I believe the biggest problem of the publication is the fact that the images from the vast iconography Serroni gathered are not always related to the productions mentioned in the text.
This book will help to further disseminate Brazilian scenography worldwide. It is not a book for those looking for deep critical analysis, although Serroni does a good job of characterizing the multiple aesthetics of Brazilian scenography and highlighting the differences to be found in the artistic practices of each of the designers.
The book also casts a critical eye on the Brazilian artistic condition, placing theatre in the broader context of national social and political issues. He points to several problems faced by designers in Brazil that, in his mind, contribute to a certain stagnation in the creative potential of so many artists. Serroni bemoans the lack of public policies that support the theatre, resulting in poor technological support for theatre productions, difficulty in maintaining theatre companies over time, a lack of high-quality theatre buildings and a very limited number of theoretical, historical and technical publications focused on scenography. Serroni is doing his part, and Brazilian Scenography: Notes of a Scenographer is not just a book about set design, but also the record of a life dedicated to art and education, and a political treatise of a passionate artist who constantly seeks to develop the level of the scenographic artist in his own country.
Howard, Pamela. 2001. What is Scenography?. London: Routledge.
Luiz Henrique Sá
Universidade Federal do Estado do Rio de Janeiro and Columbia University
© 2015, Luiz Henrique Sá