EM CADA CIDADE
Em cada cidade há crianças
Em cada cidade há brinquedos
Em cada casa há pequenos prazeres da mesa
O trabalho da casa
Lavar e reparar
A tranquilidade à noite
E alimentar as crianças
Um a dar ao outro tudo o que precisa
Um dia isto muda e nada é dado
Tudo o que é de vestir e comer é comprado como um bilhete para
lugar algum
Para viver o dinheiro é necessário
Mas onde há dinheiro todas as coisas podem ser compradas e
vendidas
Amaldiçoa a fidelidade a verdade e o trabalho
O tecto da viúva e a porta do homem pobre
E morte
Em cada cidade há dinheiro
Em cada cidade existem armas
Em cada moeda existe vida e morte
E quem pode dizer o seu valor?
Edward Bond
coros para depois dos assassinatos
tradução de Luís Mestre
edições quasi
1 comentário:
Thomas Edward Bond
Edward Bond (born in London on 18 July 1934) was the controversial activist playwright of Saved (1965), in which a baby in a pram is stoned to death
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(Anthony Vivis)
Bond achieved prominence, if not notoriety, with his socially critical plays of the 1960s and 70s. He learnt the craft and art of writing theatre at the Royal Court Theatre, London, under George Devine. There are several early plays which came out of the writers' group based here, which, along with John Arden, John Osborne, Ann Jellicoe and Arnold Wesker, Bond joined in 1960. Among these are The Pope's Wedding (1962) and Saved (1965). When this play was banned by the Lord Chamberlain's office, which had been approving – and censoring – new plays since 1737, the Royal Court theatre was turned into a club. Then, in 1968, the year of Narrow Road to the Deep North (about the Japanese poet, Basho) and Early Morning (about violence in the ruling class and a lesbian relationship between Florence Nightingale and Queen Victoria), the Lord Chamberlin's office was abolished. Bond continued to make an impact with radically conceived stage plays throughout the 1970s, in such dramas as: Lear, based on Shakespeare's King Lear (1971), The Sea, a fantasy comedy set in East Anglia (1973), Bingo, about Shakespeare and Ben Jonson (1974), and The Fool, about the poet John Clare (1976).
Towards the end of the 70s Bond revisited an earlier play to script The Bundle or: New Narrow Road to the Deep North (1978), and wrote the powerful though demanding The Woman, a modernisation of Hecuba (1978). Also in 1978 two shorter pieces, halfway between polemic and anti-racist propaganda: Black Mass and Passion were published in “Plays 2”. Bond closed the 70s with his play in two parts, The Worlds (1979), and in 1981 this was followed by the publication of his anti-capitalist short play: A-A-America. In 1981 Bond himself directed Restoration, a play with music by Nick Bicât at the Royal Court. The next year, at the National Theatre, Bond also directed Summer (1982), a play set in former Yugoslavia during the Second World War. In the same year this was also broadcast on radio in a production by the author, with Anthony Vivis sitting in. In 1985 Bond and Nick Hamm directed The War Plays at the RSC. This trilogy consisted of Red, Black and Ignorant, The Tin Can People and Great Peace. In the same year Bond completed a strong play, with songs, on the Spanish Civil War, called: Human Cannon. It is said that while he was running the National Theatre Peter Hall offered to stage the play with Yvonne Bryceland, who had played the lead in The Woman. Bond, however, insisted on keeping to his precept of directing the first production of his new plays himself.
Like Osborne, Wesker, Arden and other new British dramatists, Bond came from a working-class background – in his case centred on South London. Bond left school at the age of 15 and did odd jobs in factories and offices. In later years Bond based himself in a house in Cambridgeshire with his wife, Elisabeth. As well as writing Bond cultivated his large garden and planted a wood near his home. The idioms and rhythms of a working-class locality inform Bond's early plays, along with an almost poetic quality of dialogue, especially in the plays focusing on artists, such as Bingo and The Fool, or the play based on Shakespeare. In the case of his early plays, in particular, Bond is also very concerned with the reality of characters he is presenting, and with the specific tasks that they are engaged in – from Len mending a chair in Saved to Lear tearing down the defensive wall around his kingdom which he had previously built.
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