Mauro Rasi will be remembered for his refined
use of language in which even tragic situations were injected
with humor and grace. He drew flesh-and-bone portraits of
people that every Brazilian can find in his own family.
He was also known for glorifying women.
One of Brazil’s most
beloved and successful dramatists, Mauro Rasi, died at the age of 53 years
in his home in the Leblon neighborhood of Rio de Janeiro. He had been
battling lung cancer for some years, and was hospitalized in his last
days to remove a tumor in his bladder. His wake took place in his home
and he was buried in the English Cemetery, near the port of Rio.
Rasi helped transform
the theater as one of the creators of the besteirol form of light
comedy, punctuated by social and political commentary and masterful use
of contemporary language. His genius lay in his ability to create uniquely
Brazilian characters that went beyond mere caricatures, but were people
with whom the audience could identify. Another characteristic of his works
was their glorification of the female.
For this reason, his
plays received numerous awards, including the prestigious Molière
prize, and attracted some of the best-known television stars, like Fernanda
Montenegro (of Central do Brasil), Marieta Severo, and Nathalia
Timberg. His greatest success came in 1994 with Pérola,
a tribute to his mother. This play was seen by more than 300,000 in Brazil.
The actress Vera Holtz personified the Italian matriarch of the play and
spoke of him: "Just like in his work, he was a beautiful and funny
person, and he will live on in his plays."
Rasi was born in Bauru,
in the interior of São Paulo state, and had a difficult childhood,
raised by a domineering mother and other strong females. Because of this,
his relationships with women were always complicated, though he asserted
that he owed everything in life to his mother. Of his upbringing he commented:
"The conflicts in my family were responsible for a great part of
what I’ve created and what I still create."
At the young age of
thirteen, he wrote his first play, Duelo do Caos Morto, for a theater
competition. In it he portrayed a group of youths discussing their lives
while they go off to get drunk. In the audience was the celebrated actor
and director, Antônio Abujamra, who was so impressed that he personally
encouraged him to continue writing. A few years later, the teenage Rasi
moved abroad to Paris, where he studied piano and absorbed as much as
he could about literature and theater, adding to his knowledge of French
philosophers such as Jean-Paul Sartre, Albert Camus and Simone de Beauvoir.
In his early twenties,
the budding playwright returned to Brazil to pursue his theater career.
His plays during the 1970s attracted much attention, among them A Massagem,
Ladies da Madrugada, and Batalha de Arroz num Ringue para Dois.
Those first years were marked by drug addiction, a vice that he later
abandoned but never avoided discussing in public. Upon moving to Rio de
Janeiro, he helped create one of the greatest representations of Carioca
culture to be exported, the besteirol.
One of the busiest
and most influential playwrights of the 80s and 90s, Rasi received, in
1987, the first of his 11 Molière prizes, Brazil’s most prestigious
theater prize, for A Cerimônia do Adeus. Other notable works
were O Crime do Doutor Alvarenga, Alta Sociedade (which
he himself directed and starred Fernanda Montenegro), Viagem
a Forli, and O Baile de Máscaras, which was honored
with four Molières in 1992.
Since 1997 the playwright
had been working on a musical which was to debut this year. Music was
his other passion, having studied piano in Paris. Before resuming his
career in theater, he briefly entertained notions of being a concert pianist.
He even expressed a desire to be Chopin, including dying young of tuberculosis.
Of his wildly variable musical ability he once stated: "I made the
same mistakes over and over because I wanted to interpret the music and
not waste time practicing notes. I was the Maria Bethânia of piano."
His most recent work
in theaters was Batalha de Arroz num Ringue para Dois, in Rio de
Janeiro, and soon to be adapted for Globo Network television. (Not limiting
himself to the stage, he also made forays into television, film and books,
plus served as a columnist for O Globo.)
Mauro Rasi, who died
April 22, 2003, will be remembered for his refined use of language in
which even tragic situations were injected with humor and grace. He drew
flesh-and-bone portraits of real peoplecharacters that every Brazilian
can find in his own family. It was through these characters that he demonstrated
the way Brazilians interact with each other and see the world around them.
A Massagem (1972)
Ladies da Madrugada (1974)
As Mil e Uma Encarnações de Pompeu Lorêdo (1980)
Batalha de Arroz num Ringue para Dois (1984)
Pedra, a Tragédia (1986)
A Cerimônia do Adeus (1987)
A Estrela do Lar (1989)
Baile de Máscaras (1992)
Viagem a Forli (1993)
5x Comédia (1995)
As Tias do Mauro Rasi (1996)
A Dama do Cerrado (1996)
O Crime do Dr. Alvarenga (1999)
Alta Sociedade (2001)
A Mente Capta
A Alegria (anthology
of 12 texts published by Publifolha, with the short story Ida a Tupã)
Pérola (published by Record)
Trilogia (published by Relume Dumará, with A Estrela
do Lar, A Cerimônia do Adeus and Viagem a Forli)
to being a researcher and student at UCLA, Marianna Castañeda
is yet another Brazil-mad American who hopes to spend a significant
amount of time there. You can reach her here: firstname.lastname@example.org
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