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Em 1946, em pleno regime ditatorial, Hermínia Silva protagoniza, numa paródia à peça de Júlio Dantas que nesse mesmo ano estreara no Nacional, o papel de Antígona, na revista Sempre em Pé! Esta representação valerá à atriz o Prémio Nacional de Teatro (1947). Com efeito, a escolha da personagem Antígona para esta paródia revela sobretudo uma resposta à peça de Júlio Dantas, encenada pela Companhia Robles Monteiro-Rey Colaço e na qual se estreava a então jovem atriz Mariana Rey Monteiro. Sempre de Pé! desafiou as restrições da censura, transmitindo mensagens subversivas de forma criativa, pelo que, a “Nova Antígona” tornou-se um símbolo de desafio diante da opressão. Trinta anos depois, em 1976, na revista Afinal como é?, Hermínia Silva recupera a Nova Antígona de 46, desta vez para criticar os novos tempos que a política portuguesa criava. Dois anos depois da Revolução de Abril, Antígona voltou a ser utilizada para pensar a política e o regime em que então se vivia. Este estudo concentra-se na análise da performance de Hermínia Silva, sua influência na representação da resistência à ditadura e a relevância do teatro revista no contexto da luta pela liberdade, mas também no modo como a personagem grega dá substância a todas as ideias que se pretendiam fazer passar, desta vez sob a forma de comédia e paródia.
In 1946, during the height of the dictatorial regime, Hermínia Silva played the role of Antigone in Sempre de Pé!, a parody of Júlio Dantas’ play, which had premiered that same year at the National Theatre. This performance earned the actress the National Theatre Award in 1947. The choice of the character Antigone for this parody primarily served as a response to Dantas’ play, which had been staged by the Robles Monteiro-Rey Colaço Company and featured the debut of the young actress Mariana Rey Monteiro. Sempre de Pé! challenged the restrictions of censorship by delivering subversive messages through creative means, and thus the “New Antigone” became a symbol of defiance in the face of oppression. Thirty years later, in 1976, in the revue play Afinal como é?, Hermínia Silva reprised the New Antigone from 1946, this time to critique the new political landscape emerging in Portugal. Two years after the April Revolution, Antigone was once again employed as a means of reflecting on the political climate and the regime of the time. This essay focuses on analysing Hermínia Silva’s performance, her influence on the portrayal of resistance to the dictatorship, and the significance of revue theatre in the broader context of the fight for freedom. Additionally, it explores how the Greek character of Antigone provided a foundation for conveying these ideas, this time through the forms of comedy and parody.
In 1946, during the height of the dictatorial regime, Hermínia Silva played the role of Antigone in Sempre de Pé!, a parody of Júlio Dantas’ play, which had premiered that same year at the National Theatre. This performance earned the actress the National Theatre Award in 1947. The choice of the character Antigone for this parody primarily served as a response to Dantas’ play, which had been staged by the Robles Monteiro-Rey Colaço Company and featured the debut of the young actress Mariana Rey Monteiro. Sempre de Pé! challenged the restrictions of censorship by delivering subversive messages through creative means, and thus the “New Antigone” became a symbol of defiance in the face of oppression. Thirty years later, in 1976, in the revue play Afinal como é?, Hermínia Silva reprised the New Antigone from 1946, this time to critique the new political landscape emerging in Portugal. Two years after the April Revolution, Antigone was once again employed as a means of reflecting on the political climate and the regime of the time. This essay focuses on analysing Hermínia Silva’s performance, her influence on the portrayal of resistance to the dictatorship, and the significance of revue theatre in the broader context of the fight for freedom. Additionally, it explores how the Greek character of Antigone provided a foundation for conveying these ideas, this time through the forms of comedy and parody.
Descrição
Palavras-chave
Antigone Revue Theatre Hermínia Silva Parody Antígona Teatro Revista Hermínia Silva Paródia
Contexto Educativo
Citação
Rodrigues, N M S & Catarina Madeira 2025, 'A Nova Antígona de Hermínia Silva : paródia sociopolítica (1946 e 1976)', Forma Breve, vol. 21, pp. 215-224. https://doi.org/10.34624/fb.v0i21.41435
Editora
Universidade de Aveiro