Godot em tradução e montagem pelo Teatro Oficina

Resumen

A powerful cultural laboratory and the last refuge of languages mixture, says Patrice Pavis in  Theatre at the Crossroads of Culture (2008), when discussing staging.This is the beginning of the path I take to start developing this paper, in which the aim is to discuss the dimensions and repercussions of the translation and staging of a specific play made by Teatro Oficina, for the translation studies in theatre. The play, Waiting for Godot by Samuel Beckett, was the last direction made by Zé Celso. In its première in 2022 with the name Waiting for Godot in the end of the world, still under the influence of the COVID-19 pandemic, and showed the indistinct marks of other Oficina’s productions, like the idea of submitting the text to some kind of anthropophagy, or in the perspective of Rafael Marino (2023) afro-anthropophagy. Part of this approach used by Oficina reminds the translation process of Haroldo de Campos with Transcriation, but it is not summed by it. Under the perspective of translation, the way in which the staging of this play provides a new reading of Beckett, as it was already proposed before by others directors/stage directors, supports the possibilities and the power of new translations throughout the times. Bringing specifically this staging of a play, which became a classic of avant-garde theatre, precisely by a company that always presents itself as avant-garde in its productions, we can discuss how to thing the translation and its repercussions far from a Eurocentric epistemology.