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If I Were Iracema Blends Indignation and Aesthetic Daring1

Published online by Cambridge University Press:  10 July 2017

VALMIR SANTOS
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Extract

The actress whose European beauty recalls Vermeer's Girl with a Pearl Earring expresses through her facial expression the bloody side of Brazil's historic persecution of its indigenous peoples. The sculpted features of Adassa Martins in the one-person play Se eu fosse Iracema (If I Were Iracema) transfigure the condition of the other, of the first inhabitants.

Type
Dossier: Snapshot: Brazil
Information
Theatre Research International , Volume 42 , Issue 2 , July 2017 , pp. 238 - 239
Copyright
Copyright © International Federation for Theatre Research 2017 

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Footnotes

1

Original place of publication: Folha de São Paulo.

References

NOTES

2 [TN] The Italian navigator Amerigo Vespucci (1454–1512) is known in Portuguese as Américo Vespúcio. The Americas were named for him after he demonstrated to other Europeans that the continent was an independent land mass, rather than part of Asia.

3 [TN] José de Alencar, Iracema (Rio de Janeiro: Typographia Viana & Filhos, 1865; first translated to English by Isabel and Richard Burton in 1886). Iracema: Uma Transa Amazônica (Iracema: A (Trans)Amazonian Fuck), directed by Bodanzky, Jorge and Senna, Orlando, 1975; and Iracema, a Virgem dos Lábios de Mel (Iracema: The Virgin with the Honey Lips), directed by Carlos Coimbra, 1979Google Scholar.