By José Saramago
Uma pequena olaria, um centro comercial gigantesco... Um mundo em rápido processo de extinção, outro que cresce e se multiplica como um jogo de espelhos onde não parece haver limites para a ilusão enganosa.Este romance fala de um modo de viver que vai sendo cada vez menos o nosso e assoma-se à entrada de um courageous new global cujas consequências sobre a mentalidade humana são cada vez mais visíveis e ameaçadoras. Todos os dias se extinguem espécies animais e vegetais, todos os dias há profissões que se tornam inúteis, idiomas que deixam de ter pessoas que os falem, tradições que perdem sentido, sentimentos que se convertem nos seus contrários... Fim de século, fim de milénio, fim de civilização. Uma família de oleiros compreende que deixou de ser necessária ao mundo. Como uma serpente que despe a pele para poder crescer noutra que mais adiante se há-de tornar pequena, o centro comercial diz à olaria: Morre já não preciso de ti. Em A Caverna José Saramago enfrenta-se ao processo acelarado de desumanização que estamos vivendo. Com os dois romances anteriores Ensaio Sobre a Cegueira e Todos os Nomes - este novo livro forma um tríptico em que o Autor deixou inscrita a sua visão do mundo real, da sociedade humana tal como a vivemos. Não mudaremos de vida se não mudarmos a vida.
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Extra info for A Caverna
In one of the Marx Brothers' films a man, thinking he is about to take a woman in his arms, ends up with a cow which moos. And through a combination of circumstances too long to relate, at that moment that same moo assumes an intellectual dignity equal to a woman's cry. If such a situation is possible in films, it is no less possible in theatre as it stands, and it would take very little; for example the cow might be replaced by an animated puppet, a kind of monster gifted with speech, or a man disguised as an animalto redii;cover the secret of the objective poetry underlying all humour, which theatre has given up, leaving it for Music-Hall, while the cinema later turned it to good account.
For me obvious ideas, in theatre as in all else, are dead and finished. The idea of a play built right on stage, encountering production and performance obstacles, demands the discovery of active language, both active and anarchic, where the usual limits of feelings and words are transcended. In any event, and I hasten to say so at once, theatre which submits staging and production, that is to say everything about it that is specifically theatrical, to the lines, is mad, crazy, perverted, rhetorical, philistine, antipoetic and Positivist-that is to say, Western theatre.
In the Balinese Theatre one senses a state prior to language, able to select its own language; music, gestures, moves and words. * We can be sure this aspect of pure theatre, this natural philosophy of total gesture, an idea in itself, transforming the mind's persuasions in order to be discerned through the fibrous maze and tangle of matter, gives us a new idea of whatever properly belongs to the field of form and visible matter. Anyone who succeeds in imparting a mystical meaning to the simple outline of a gown, not simply content with placing man beside his Double, but ascribing to each costumed person their costumed double-those who run these phantasmal clothes, these second clothes, through with a sword, giving them the look of huge butterflies pinned in the air, these people have a far more inborn sense than us of nature's total, occult symbolism, teaching us a lesson which we can be only too sure our theatre technicians would be incapable of using.
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