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Plínio Marcos: Obras Teatrais - Vol. 2
Um autor da grandeza de Plínio Marcos tem o direito de ter o conjunto da sua obra publicada de maneira correta e fidedigna, e foi exatamente esse o primeiro objetivo e a principal preocupação deste dar a público uma edição absolutamente confiável do texto das peças de Plínio Marcos, baseada sempre na última modificação feita em vida pelo autor. (texto da orelha, Alcir Pécora) O segundo volume de Plínio Obras Noites sujas traz peças cujo núcleo conflituoso reside em personagens e situações características do grupo social usualmente chamado de lumpesinato ou de subproletariado, pessoas sem ocupação ou com ocupação precária, que lidam, no limite da sobrevivência, com o dia a dia das grandes cidades, e que são destituídas tanto de recursos materiais como de consciência de classe, para usar o jargão marxista. No caso do teatro de Plínio Marcos, esse grupo é especialmente importante e variado, incluindo estivadores, chapas do mercado, mendigos,catadores de papel, pequenos golpistas, bêbados, drogados etc. E, sobre conflitos situados aí, Plínio compôs uma obra-prima do teatro brasileiro, Dois perdidos numa noite suja, de 1966. Integram ainda este volume Jornada de um imbecil até o entendimento e Homens de papel, ambas de 1968. Também nesse grupo se inclui os desempregados sem qualificação de ofício, isto é, não aqueles que apenas ocasionalmente perderam o emprego, mas os que já não conseguem encontrar função numa nova situação do mercado de trabalho e arriscam receber a pecha de irresponsáveis ou vagabundos pela falta de atividade rentável. É justamente o caso do Zé de Quando as máquinas param (1967). Por essa razão, a peça também foi incluída neste volume. (de Noites sujas, Alcir Pécora)
396 pages, Paperback
Published January 1, 2016
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About the author
Plínio Marcos
32 books9 followersFrom a modest family, Plinio Marcos just attended only the primary school.
This artist worked as coppersmith before the trajectory inside the theater.
He wanted to be a football player and he actually got inn at Portuguesa Santista Football Club.
Some work at circus climbed his coming to radio and television Santos during the 50's.
The renowned, avant-guarde and controvercial writer and journalist Pagu during the year 1958 was responsible for his transition from the Circus to the Theatre. In the same year he writes Barrela. The play is about rape crime inside a prison. The play, by his rude language, remain banned for 21 years after the first presentation.
In 1960 he moved to São Paulo, where he also worked as a street vendor, even being active on TV Tupi, in the company Cacilda Becker and theater Nydia lycian.
From 1963 he produced texts for TV de Vanguarda. He continued working at TV Tupi as production techinician.
The following year he produced the television show "Our People, Our Song."
In 1965 he wrote a play that was only one day on stage.
In 1968 he acts at a blockbuster soup opera "Beto Rockfeller." He got amazing good critics both from public & academics.
In the 1970s, Plinio Marcos invested again in the theater, he even got to sell the tickets at the entrance of the playhouses. At the end of the play, he went up on stage and talk personally with the audience.
In the next decade, even with the current censorship, he got more mature, intensely productive and kept continiously guided by popular culture, he wrote in the newspaper Ultima Hora, Evening Gazette, Guaru News, Folha de S. Paulo, Folha da Tarde, People's Daily (Campinas), and also in Veja magazine as well as collaborate with several publications.
After the end of censorship, Plinio continued to write novels and plays, both for adults and children. He became lecturer, reaching to 150 lectures-shows a year, always dressed in black.
Plinio Marcos was translated, published and staged in French, Spanish, English and German; thesis studied in sociolinguistics, semiotics, psychology of religion, drama and philosophy in universities in Brazil and abroad. Received major national awards in all activities embraced in theater, film, television and literature, as an actor, director, writer and playwright.
He died aged 64, in São Paulo, by multiple organ failure as a result of a stroke.
This artist worked as coppersmith before the trajectory inside the theater.
He wanted to be a football player and he actually got inn at Portuguesa Santista Football Club.
Some work at circus climbed his coming to radio and television Santos during the 50's.
The renowned, avant-guarde and controvercial writer and journalist Pagu during the year 1958 was responsible for his transition from the Circus to the Theatre. In the same year he writes Barrela. The play is about rape crime inside a prison. The play, by his rude language, remain banned for 21 years after the first presentation.
In 1960 he moved to São Paulo, where he also worked as a street vendor, even being active on TV Tupi, in the company Cacilda Becker and theater Nydia lycian.
From 1963 he produced texts for TV de Vanguarda. He continued working at TV Tupi as production techinician.
The following year he produced the television show "Our People, Our Song."
In 1965 he wrote a play that was only one day on stage.
In 1968 he acts at a blockbuster soup opera "Beto Rockfeller." He got amazing good critics both from public & academics.
In the 1970s, Plinio Marcos invested again in the theater, he even got to sell the tickets at the entrance of the playhouses. At the end of the play, he went up on stage and talk personally with the audience.
In the next decade, even with the current censorship, he got more mature, intensely productive and kept continiously guided by popular culture, he wrote in the newspaper Ultima Hora, Evening Gazette, Guaru News, Folha de S. Paulo, Folha da Tarde, People's Daily (Campinas), and also in Veja magazine as well as collaborate with several publications.
After the end of censorship, Plinio continued to write novels and plays, both for adults and children. He became lecturer, reaching to 150 lectures-shows a year, always dressed in black.
Plinio Marcos was translated, published and staged in French, Spanish, English and German; thesis studied in sociolinguistics, semiotics, psychology of religion, drama and philosophy in universities in Brazil and abroad. Received major national awards in all activities embraced in theater, film, television and literature, as an actor, director, writer and playwright.
He died aged 64, in São Paulo, by multiple organ failure as a result of a stroke.
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