THEATRE-BRAZIL: Reliving History

By Mario Osava Reprint | | Print |

Mario Osava

RIO DE JANEIRO, Aug 18 1998 (IPS) - One morning 44 years ago President Getulio Vargas rose early and shot himself in the heart – a suicide committed, as he wrote in a letter, in order for him to “enter history.”

The Catete Palace, where “The Shot that Changed History” rang out on Aug. 24, 1954, later became a museum and an important cultural center in Rio de Janeiro. It also provides an ideal setting for telling the tragic story in the form of a play.

The idea of performing a stage version of Vargas’ last moments in the very place where the historical events took place is the brainchild of Helena Severa, former director of the Museum of the Republic – as the palace is now named – and currently Secretary of Culture for Rio de Janeiro.

‘The Shot that Changed History’, written by Carlos Eduardo Bovaes and Aderbal Freire-Filho – who also directs the play – was a bit hit when ran from 1991 to 1993, attracting an audience of more than 40,000 to limited performancxes held at the museum.

The creators of the play decided on its revival Aug 24 for a short run but also to stage the play every year, probably every August which, because of Vargas’ suicide, became known as ‘the month of the crazy dog.’

The novelty of the stage drama is not limited to the fact that the play is being performed in the Royal Palace, which was the home of Brazilian presidents until the capital was transferred to Brasilia in 1960.

The play also uses the same furniture, preserved as museum pieces, including the bed in which Vargas – a leader who had a profound influence in Brazil – killed himself. Vargas ruled from 1930 to 1945 as a dictator, and then from 1951 to 1954 as the democratically-elected president.

The unique scenario, however, is limited to 70 spectators for each show. The 25 actors represent historical characters, like Vargas and his family, palace guards and members of the government.

The actors move in and out of the different rooms where the action takes place, like meetings of ministers and conversations between the presidents and his aids. It all culminates in the bedroom, where the suicide occurred.

Spectators must go up and down stairs several times between three floors of the of the palace, and that has caused several incidents in past performances. Some theatre-goers, for example, have become ill with vertigo on the stairs and have had to be aided by the actors themselves.

Because there are two shows a day to make up for the limited audience, the performance requires the actors who represent Vargas and his ministers – most of them already in their 50s – to be in good physical shape.

The success of ‘The Shot that Changed History’ at the beginning of the 1990s sparked a wave of plays in real scenarios whose architecture has survived its time, especially in Rio de Janeiro.

The children’s theatre troupe Tablado, for example, has used the Pazo, in the center of the city, to reconstruct historical events that led to the independence of Brazil and the end of slavery.

Aderbal Freire-Filho also directed ‘Tiradentes’, using the streets and buildings of Rio de Janeiro to stage the tragedy of the hero of national independence hanged by the Portuguese in 1792. Spectators were transported to different parts of the city in buses.

This is an effective way of recovering and teaching the country’s history, the artists say, but the movement toward “virtual reality” has had only a mediocre success.

Still, ‘The Shot…’ has enjoyed success, both because of its dramatic theme which had profound repercussions in the nation’s history and because of its ideal scenario. That is why it is returning to life.