Fiama in living scene

Abstract

Considering the manifestation of a belief in a performing aspect of the poetic voice in Fiama Hasse Pais Brandão’s work, approximating her literary work and its scenic expression reveals a relevant exercise in what regards her poems as well as her written production related to theatrical features. The relation between poetry and theatre or poetry and drama is proposed by reading the structure of a “poetic recitation” called “Luar e sal”, which is included in Em cada pedra um voo imóvel (1958), the first book of the Portuguese writer. In this initial moment of her writing, it is possible to notice a pursuit of a “theatre of the voice” – as Jorge Fernandes characterizes Fiama’s poetry in Cenas vivas (2000) –, fostered by the minimalism of the gesture and by the reduction of the scenic space to the echo of diverse characters’ speeches. Therefore, in the book written in 1958, the sceno-graphy shows itself as a first move of lifting the poem to the state of place, as Eduardo Prado Coelho would point out when suggesting that “Poesia 61” formulates a “topological understanding of the text as a place where the meaning is formulated” (1976, p. 265).