'Mar do Sertão' breaks record for Northeastern actors in soap opera and cornelismo debate

‘Mar do Sertão’ breaks record for Northeastern actors in soap opera and cornelismo debate

The soap opera that will premiere Monday, the 22nd, on Globo, “Mar do Sertão” features a record number of actors from the Northeast for a TV series, on the stage.

Among the faces already built to attract box office, such as Pernambuco’s Renato Guess, and faces completely unknown to the general public, which includes a host of surprising artists, the cast of Six O’Clock includes 19 names. This is practically half of those involved in the new plot signed by Mario Teixeira, artistically directed by Alan Fetterman.

Typically represented by actors from the Rio São Paulo hub, serials in the Northeast almost always stumble upon phonemes as the tone of different regions unify.

Iris Gomez, a performance teacher who trains regional dialects and manners in ten out of ten productions outside of Rio de Janeiro, has also worked for “Mar do Sertão”. But only to open the ears and unleash the language of the other actors, who on the set still benefit from current advice from colleagues from Paraíba, Ciara, Bahia, Rio Grande do Norte and Pernambuco.

The fact that the story takes place in a fictional city, without a sincere commitment to anywhere, does weight in favor of the work. But the protagonist, Kanduca, played by Isadora Cruz, draws the attention of the rest of her colleagues to her native Paraíba, but “with room for some fluidity,” assures the director.

“This display problem is not going to happen, because Canta Piedra is an invented city, it’s my Macondo, where anything can happen,” says Teixeira, the author, in a video interview, along with Fetterman. “The city is located in a totally fantastical place, where there is a canyon and Katinga, it is a mixture of many Brazilian landscapes.”

The author says that the director “made a lot of effort” to coordinate the city that will be on stage, with images of Alagoas and Pernambuco, where the Catembao Valley is located, “which were never filmed in the audiovisual sector,” assures Fetterman.

Although Globo has an extensive catalog of registered professionals, the director says that most of the actors who will be introduced to television audiences for the first time in “Mar do Sertão” have come from good research, with support from casting producer Marcia Andrade.

The bet on this set involves rebalancing costs, as it was necessary to spend more on airfare and accommodations to bring in interpreters for characters usually found in Rio de Janeiro from cities in the northeast, where nearly all series are taped. For nine months.

To contemplate this choice, the director had to forgo other expenses, by cutting here and there, from scenography and art to other sectors.

“It’s quite a challenge to bring this series from Sertão to Rio de Janeiro. What I call gift wrapping is the photography, the scenery, but people are watching the story, and my biggest concern is the bet on who’s telling the story. That’s the story: the actors,” says Fetterman.

As Canta Pedra is a microcosm of Brazil, something reminiscent of the soap operas given by Dias Gomez and Aguinaldo Silva, the director draws on the power of archetypes to tell this plot, bringing the guts of the chorlismo back to the screen.

The northeast team is represented by Isadora Cruz, along with Renato Góes and Clarissa Pinheiro, from Pernambuco, Erico Brás and Cyria Coentro from Bahia, and Thadelly Lima and Suzy Lopes, from Paraíba, who worked with Fiterman on the soap opera “Quanto Mais Vida” Melhor! ’,” Lucas Galdino, of Ciara, “Search,” says the director.

The main theme is the trio formed by Kanduka, Zi Paulino (Sergio Guise) and Tertolino (Joyce). The first two live a deep love story, until he has an accident and is presumed dead. When she returns to the city, ten years later, the girl will marry the third, the son of Colonel Tertillo (José de Abreu).

Northeastern music became a high point in the group, so much so that everyone wanted to involve certau music. Enrique Diaz, for example, although born in Lima, Peru, probably lives in the Northeast’s most distinctive character, Tempo, which refers to Sancho Banca and Joao Grillo.

Weld Rodriguez, who will make his telenovela for the first time, is from Brasilia, but he brought advice about his role, as well as Erico Bras, translator of a man who is afraid to assume his sexual orientation, as is the case even now for many people persecuted by conservatives in small towns ruled by oligarchy.

To raise the wreath, Teixeira says that in reality he will think on the side of the oppressed and the oppressed, who never see themselves in this role and usually position themselves as victims of those who dare to occupy the space they think belongs to them. By inheritance.

“In the case of the colonel, this title is completely obsolete, there hasn’t been a colonel in the Northeast for almost a century, if not more, this was a National Guard patent, granted and passed down from father to son,” Teixeira recalls.

“There is a book that I really like, Cartas do Barao, which shows the letters exchanged between the observer of Canodos and the baron, the owner of the lands taken over by the Jagunsu, and there is a vision of the oppressed and the baron. Baron, that he does not feel unjust. He felt like a humiliated individual, because they had invaded and occupied his lands. “.

The author also says that José de Abreu suggested introducing classic phrases from “Don Quixote” into his speeches, and this was answered. Deborah Bloch, whose wife lives in the story, says she is happy to be back in comedy, after so many dramatic roles.

“I’ve never done a TV series where the actors were so involved in creating their characters,” Teixeira says.

“The actors created their own language for the TV series, using expressions from all over Brazil, including those that are often used in São Paulo, because we don’t forget that São Paulo is the largest capital in the northeast of Brazil,” he continues.

The director is passionate about northeastern culture and, according to the author, an “excellent forró dancer,” a rhythm that will have its place in history with its Janjão bar.

Fetterman concludes, “It is no longer possible today that there should be no diversity in any business.” “It is necessary to normalize the integration of people. The more actors appear outside the Rio São Paulo axis, no matter where they are, the more trans actors we have in our environment, and the more natural this becomes, the more we will meet with different actors and possibilities.”

Teixeira agrees, but cautions that he never describes in the summary whether a character has a color or race. “For me, an actor can take on any role, regardless of who they are. The cast was chosen entirely because of talent, not thinking of splitting quotas. None of them were chosen because of parenthood or because we are cool, most of them auditioned.”

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