A música como dramaturgia: Matriarcado de Pindorama, da Estelar de Teatro

Abstract

This article investigates music as a dramaturgy of energies, a dramaturgy for a non-dramatic theatre, understood not as mere accompaniment but as a structuring force of the theatrical rite and a decisive element in transforming the spectator into an agent of the scene. We begin with a historical contextualization of Brazilian theatre from São Paulo, focusing on the transit between popular-musical forms and the “serious theatre” of the TBC, as well as the legacy of José Celso Martinez Corrêa and Teatro Oficina for the group-theatre tradition of São Paulo. Finally, we present the experience of Companhia Estelar de Teatro, especially in the play Matriarcado de Pindorama (2018–2020), in which music operates as polyphonic writing and a composition of energies, traversing bodies, times and affects, and establishing dissident narratives.