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Meet Brazilian Theater Legend: Cacilda Becker

posted on September 30, 2011

Ladies and gentlemen, senhoras e senhores!

Let me introduce you to one of Brazil’s most important stage artists… Cacilda Becker!

Born in 1921 in the city of Pirassununga  in the state of São Paulo, raised by her mother along with 2 sisters and with very little money, Cacilda became one of the biggest names in the history of Brazil and Brazilian theater. She left us early, at age 48, while on stage: At the end of the first act of the play Waiting for Godot , Cacilda had a stroke. She had been working as an actress for 30 years. 

Critics and audience described Cacilda Becker as a sort of sacred being. The fact that she died quite young and during a performance certainly intensified her status of legend. The name Cacilda Becker echoes far beyond the boundaries of the artistic circles of Brazil, and reading about her life made me wish the impossible: to see her on stage.

Cacilda starred in two movies ( Luz dos Meus Olhos in 1947 and Floradas na Serra in 1954) and one soap opera ( Ciúmes , by the extinct TV channel Tupi), none of which can be easily obtained. Very few videos can be found, one of which is a cooking oil commercial made in 1962 in which she explains to her real-life husband, the actor Walmor Chagas, why Óleo Saúde is the best.

But according to all witnesses the stage is where she really worked her magic. Cacilda didn’t have an extraordinay physique and many say that she made a name despite her voice, which was not at all strong as one would expect from a stage star. Actress Madalena Nicol, who shared the stage with her — and with whom Cacilda came to develop a certain rivarly — once described her voice as a taquara rachada (a very common term to describe a craking voice tone. It refers literally to the sound of a cracked bamboo flute). Yet, Cacilda’s name became a synonym of the word theater. While some people are said to have the right body or the right voice for this or that sort of artistic craft, her talent was somewhere beyond that.

I must say I felt a little overwhelmed by the wide range of interesting aspects of her life: her defense of actor’s rights during the dictatorship in the 60’s, her years as a radio actor, her upbringing surrounded by joy and friendship despite all poverty, her dream as a teen to become the Isadora Duncan of Brazil, her years in the TBC, one of Brazil’s biggest theater companies of all times, her love affairs, her son… nossa senhora ! It’s quite a bit.

But the question of what turned her into the legend she is today – what happened when she stepped on stage and why was she so wonderful? —  really triggered my curiosity.

According to critics, co-workers, audience, family, and friends, Cacilda had an overwhelming courage and a determination to convince that drove her on stage and made her more powerful than anyone and anything.

The picture above shows the actress in one of her most memorable roles as a poor, misbehaved boy named Pega Fogo (Catch on Fire, in a reference to the character’s red hair), in the play with the same name written by Jules Renard. Lending her adult female body to such an opposite character, she broke the barrier that sets apart woman and boy, bringing crowds to tears. Swiss actor Michel Simon , after crying his eyes out at a performance of Pega Fogo in Paris, compared Cacilda Becker to Charlie Chaplin: “From now on, Pega Fogo can have no other face but yours”. 

Oh boy… or in good Brazilian, ai ai… 

What a wonderful, strong woman Cacilda Becker must have been! The power of her performances will always be a mystery to us who were not there, and after all, isn’t mystery the main matter of all myths?

In the mean time, let us savor a poem that our Carlos Drummond de Andrade   wrote when Cacilda passed away:

(Free translation by Larissa Garcia)

Momento Aula Viva

Here is something for you to have fun with: Try to memorize the lines below: 

A morte emendou a gramática. Morreram Cacilda Becker. Não era uma só. Era tantas. Era uma pessoa e era um teatro. Morrem mil Cacildas em Cacilda.

In front of the mirror, say these lines making sure you are really articulating the vowel “a” and the two diferent sounds of the “r” (remeber that “rr” sounds like the “h” in English). If you focus on those two things you will have enough to pay attention to. 

When the words are coming out naturally, try them with different intentions: deliver them with an intonation of anger; turn them all into questions; make it sound like they are the most absurd thing you’ve ever heard.

Let me know how it goes. I would love to hear form you!

Abraço grande e até mês que vem!

* Top picture: Cacilda Becker as Antigone. (Source)

—————-

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Cacilda! Act 2

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Cacildas´ Festival: Two plays with English Subtitles at Teatro Oficina

• Autor do post De
• Data do post 6 de outubro de 2014

*CACILDAS’ FESTIVAL: SPRING TURNING INTO SUMMER AT OFICINA THEA(C)TER*

Two shows of the most recent production by Oficina Uzyna Uzona Thea(c)ter. Two musicals directed by José Celso Martinez Corrêa that have a direct connection with the current times in Brazil: *Cacilda!!!!! The Decapitated Queen* (always on Saturdays) and *Walmor y Cacilda 1964 – RoboCoup* (always on Sundays).

*Live broadcast on the website www.teatroficina.com.br WITH ENGLISH SUBTITLES LIVE!*

On Saturdays (from October 4th to November 8th), the public will be able to live *Cacilda !!!!! The Decapitated Queen*, musical that pictures the end of the passion between the actress Cacilda Becker and the director Adolfo Celi, main creation engine of TBC – Brazilian Theater of Comedy, inspiring a journey that will mark the end of an era – of a production model – of the national Theatre. Camila Mota and Sylvia Becker embody Cacilda Becker alongside Joana Medeiros (Tonia Carrero), Roderick Himeros (Adolfo Celi), Marcelo Drummond (Creon), Zé Celso (Zampari Big Daddy) and 54 other actuators from the Teat(r)o Oficina Uzyna Uzona Company and from the Anthropophagic University (among actors, musicians, videographers, visual artists, dancers and technicians). At The Berrini Theater of Comedy, the rehearsal is invaded by characters that seek for the dissolution of barriers between classes of antagonic Thea(c)ters. With the arrival of the actress Tônia Carrero, new focus of Adolpho Celi’s passion, Cacilda is Detroned. She leaves, then, the house of the drama and drives towards the last path: the harsh learning in the Greek Tragedy, in order to devour her dead passion and to eternalize it inside her actress’ guts. Three plays that Cacilda did are the pillars for *Cacilda!!!!! The Decapitated Queen*: Six characters in Search of an Author, by Luigi Pirandello, The Lady of the Camellias by Alexandre Dumas and Antigone, by Sophocles.

On Sundays (from October 5th to November 9th) will be the turn of the public to live along with the Company of the Teat(r)o Oficina Uzyna Uzona Association the emotions of *Walmor y Cacilda 1964 – Robocoup*, musical play poem created to shed a light on the 50-year relationship with the imagery of military dictatorship and its effects on art in Brazil. Cacilda Becker is being directed by Walmor Chagas in the play The Night of the Iguana by Tennessee Williams. Cleyde Yáconis, Cacilda`s sister, is held arrested; hangs in the air a mood of interdiction to the Theaters where plays that are considered subversive make success. The RoboCop, with his futuristic armor, tries to submit all to the state of exception. Liberty is no longer a guarantee. The DOPS (Department of Political and Social Order) summons the theatrical class to testify. Cacilda and Maria Della Costa answer the interrogatory with great clarity and art, embarrassing the Deputy Bonchristiano. 2014: Nonno, poet character of The Night of the Iguana, finishes his poem in which he prescribes the potency of creation in order to keep liberty alive.

*About Cacilda Becker and Oficina Thea(c)ter stagings:*

The life story of the actress Cacilda Becker is the story of the Brazilian Modern Theatre itself. She was the one great responsible for the creation of a professional artistic class and always acted on stage – and beyond them – the sovereignty of theatrical art. But her importance not only refers to the national Theatre; it is universal. At the TBC – Brazilian Theater of Comedy, she made the best of the dramaturgy of the northern hemisphere, but like Joao Gilberto in music, devoured it all up with an absolutely unprecedented, minimalist and original interpretation.

Zé Celso and Marcelo Drummond in 1990 produced the dramaturgy of CACILDA’S ODYSSEY!!!!!!!!!, 900 pages that began to be staged from the end of the millennium. A Homeric work that has generated six distinct (and complementary) productions so far! The dramaturgy of these musical travels through a splendid era of the national Theatre in: the 1940s, 1950s and 1960s. The exclamation points that nominate the plays, besides the subtitles, reveal the wheezing, almost asthmatic breath of an extremely enthusiastic performance, “with the God Dionysus INSIDE “, projecting his intense libidinous breath towards the Universal Space.

With 55 years of history, Oficina Thea(c)ter is listed as a protected National Artistic and Historical Heritage by IPHAN (Institute of National Historic and Artistic Patrimony). Its artists represent one of the most important and respected groups in Brazil. Among projects with young people in São Paulo, trips throughout several Brazilian capitals, tours in Europe, films and celebrated seasons in its iconic Work of Art headquarters in Bixiga neighborhood, Oficina is constantly changing, always bringing freshness to their new artists and to public.

José Celso Martinez Corrêa, director of Oficina Thea(c)ter, is also an actor, playwright and composer, internationally recognized for his work in theater. Founding member of Oficina Uzyna Uzona Thea(c)ter, has directed dozens of plays with the group, with whom he developed his original style of Brazylian Carnival Opera, genre which is exclusive to Oficina Thea(c)ter, putting on scene dozens of actuators, dividing its runway stage with a live band, singing, dancing, video and worldwide broadcast of all its sessions on Uzyna Uzona Television at the internet. Issues such as education, urban planning and communication are always worked with vigor and depth by the actuators of the group, through musicals that have incorporated the Brazilian Revista Theater and go far beyond the American musical, by taking the choruses out of the background of the shows and giving back the importance that it had in ancient Greece – as well as involving the entire audience in the action of the dramaturgy.

*Cacilda !!!!! The Decapitated Queen* *Director:* José Celso Martinez Corrêa *Dramaturgy:* José Celso Martinez Corrêa and Marcelo Drummond (coauthor) *Poet Councillor:* Catherine Hirsch “Full Credits”:http://teatroficina.com.br/menus/45/posts/800 *Date:* From October 4th to November 8th, always on Saturdays *Time:* 19h. *Tickets:* R$ 30.00 (full), R$ 15.00 (half) and R$ 5.00 (Bixiga residents, upon proof). Half price for seniors, artists, teachers, Petrobras cardholders and work force of Petrobras. Tickets can be purchased at the box office of Oficina one hour before each session, or online, through the “Compre Ingressos”:http://www.compreingressos.com/espetaculos/1822-Cacilda-A-Rainha-Decapitada *Location:* Teat(r)o Oficina – 520, Jaceguai Street Phone #: +55 11 3106-2818. *Capacity:* 300 seats *Age Rate:* 14 years *Duration:* 3h30 + intermission

*Walmor y Cacilda 1964 – RoboCoup* *Director:* José Celso Martinez Corrêa *Dramaturgy:* José Celso Martinez Corrêa and Marcelo Drummond (coauthor) *Poet Councillor:* Catherine Hirsch *Musical Directors:* Adriano Salhab, Montorfano and Giuliano Ferrari *Original music:* Zé Celso Company and the Company of the Association Oficina Uzyna Uzona Theater “Full Credits”:http://teatroficina.com.br/menus/45/posts/800 *Date:* From October 5th to November 9th, every Sunday. *Time:* 19h. *Tickets:* R$ 30.00 (full), R$ 15.00 (half) and R$ 5.00 (Bixiga residents, upon proof). Half price for seniors, artists, teachers, Petrobras cardholders and work force of Petrobras. Tickets can be purchased at the box office of the Oficina one hour before each session, or online, through the “Compre Ingressos”:http://www.compreingressos.com/espetaculos/2679-Walmor-e-Cacilda-64—Robogolpe. *Location:* Teat (r) o Oficina – 520, Jaceguai StreetPhone #: +55 11 3106-2818. *Capacity:* 300 seats *Duration:* 2h20min *Age Rate:* 14 years

TEAT(R)O OFICINA Rua Jaceguai, 520 – Bixiga – São Paulo SP – Brasil +55 11 3106 2818 [email protected]