This Garden Glass Zoo was not part of the plans to get their hands in the work of Tennessee Williams. Jorge Silva Melo had thought the large cast parts for large theaters, Cat on a Hot Tin Roof (2014, Teatro Viriato / CCB / St. John) Sweet Bird of Youth (2015, St. Louis / St. John) and the Night of the Iguana (debut in 2017), since at the time the imminent departure of the Polytechnic Theatre seemed a fateful certainty for United Artists. Because during the tour Girl … the circumstances have changed, the presence at the Polytechnic has been extended and the continuity of the regular presentation of the company’s work in the room, opened space for a piece more intimate scale with the actors Isabel Munoz Cardoso, João Pedro Mamede, José Mata and Vania Rodrigues.
The attraction of Garden Glass Zoo (piece translated by Jose Miguel Silva) was too evident to Silva Melo pass up the opportunity. Having been initially written by Tennesse Wlliams to the big screen, the text would turn a play after rejected by Hollywood. “Hollywood did not want because it was very poor and failed us,” says the director, with a known weakness for these characters constantly swept to the margins of society and often forgotten by the theater. And it is for this reason, moreover, that Silva Melo dispenses with the usual English translation that titles Garden Crystal Zoo , arguing that these people passing through the stage is too poor to have even seen a crystal in life – the more to afford to collect animals of this material. “It’s glass, are glass doggies” he says.
Considered the most autobiographical of the plays of Tennessee Williams, Garden Glass Zoo (on the scene in the Polytechnic Theatre, Lisbon, until 4 June) enters the house of the Wingfield family in and have in Tom a little disguised extension of the author – his real name was Thomas and he also worked in a warehouse of shoes while writing short stories and novels for literary magazines. On stage, Tom is the one who ensures support the family – which also includes the mother and crippled sister – fleeing all the nights away from home for allegedly sticking the film (where people go delegating the characters to life that dream) and whose mother puts all hopes not only to pay the bills but also to find a boyfriend for her sister.
in all, even Jim friend, Tom invites to woo sister and being courted by the family, there is an idea of permanent prison. Each curled up in a life of hopelessness, which Tom tries to escape. Jim, the only character who Tennesse Williams presents a realistic, a believer in the American dream and investing everything in this idea of future prosperity, appears in the eyes of the director, still as a figure “more fragile than it may seem, a man who is to heal the failure, but convinced it will win. ” “It’s a guy who signed up in the ‘manna church’ and want to believe, but do not believe as much as that.” In his case, win passes up the payroll, marry a perfect girl and live another prison in an idea made of what it meant someone be fulfilled as a winner in America in the ’40s.
for Tom, beat goes before to flee that house. Hence Silva Melo understands Zoo as a contaminated piece by remorse. As the author left behind his mother and her sick sister fled to Hollywood and then to New York, Tom also part reliving a possible Williams guilty. But this Zoom disenchanted about winners and losers, in which even the leaks look like a grim thing and a kick to another hole, runs across a chain of American literature Silva Melo identifies Faulkner and Thomas Wolfe. In particular, de Wolfe, the book Look Homeward Angel , a look at the home of direction that Williams and worshiped here also employs analepsis of way. The classic Wolfe had a subtitle:. The Story of the Buried Life – a story of the buried life
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