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Plínio Marcos
O livro conta as peças de Plínio Marcos:
- Barrela
- Dois perdidos numa noite suja
- Navalha na carne
- O abajur lilás
- Querô, uma reportagem maldita
Seleção e prefácio de Ilka Marinho Zanotto.
"Plínio Marcos irrompe, na dramaturgia brasileira com uma verdade e uma violência que de súbito deslocam os valores sobre os quais repousavam nossas experiências realistas. 'Dois Perdidos Numa Noite Suja' já provocara esse impacto, desnudando o comportamento de dois indivíduos que se dilaceram numa strindberguiana 'luta de cérebros', até a destruição. 'Navalha na Carne' retoma o mesmo procedimento de sondagem psicológica e ruptura brusca de um abscesso, para que a catarse traga o alívio final.
Com a autenticidade do levantamento que Plínio Marcos faz das situações sociais e dos caracteres em jogo, as figuras do submundo pintadas pela nossa ficção se tornam de repente românticas, líricas, próximas do róseo. Nunca um escritor nacional se preocupou tanto em investigar sem lentes embelezadores a realidade, mostrando-a ao público na crueza da matéria bruta. A primeira impressão que se tem é a do documento - a fatia de vida cortada ainda quente do cenário original, o flagrante íntimo surpreendido de um buraco de fechadura"
- Sábato Magaldi
- Barrela
- Dois perdidos numa noite suja
- Navalha na carne
- O abajur lilás
- Querô, uma reportagem maldita
Seleção e prefácio de Ilka Marinho Zanotto.
"Plínio Marcos irrompe, na dramaturgia brasileira com uma verdade e uma violência que de súbito deslocam os valores sobre os quais repousavam nossas experiências realistas. 'Dois Perdidos Numa Noite Suja' já provocara esse impacto, desnudando o comportamento de dois indivíduos que se dilaceram numa strindberguiana 'luta de cérebros', até a destruição. 'Navalha na Carne' retoma o mesmo procedimento de sondagem psicológica e ruptura brusca de um abscesso, para que a catarse traga o alívio final.
Com a autenticidade do levantamento que Plínio Marcos faz das situações sociais e dos caracteres em jogo, as figuras do submundo pintadas pela nossa ficção se tornam de repente românticas, líricas, próximas do róseo. Nunca um escritor nacional se preocupou tanto em investigar sem lentes embelezadores a realidade, mostrando-a ao público na crueza da matéria bruta. A primeira impressão que se tem é a do documento - a fatia de vida cortada ainda quente do cenário original, o flagrante íntimo surpreendido de um buraco de fechadura"
- Sábato Magaldi
287 pages, Paperback
First published January 1, 2003
3 people want to read
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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