Felipe de Assunção Soriano [1].
Pontifical Catholic University of Rio Grande
do Sul – PUCRS.
[1]PhD candidate in History
from the Pontifical Catholic University of Rio Grande do Sul - PUCRS, Master in
Theology, with an emphasis on indigenous Mariology from the Catholic University
of Pernambuco – UNICAP, Graduate in Philosophy and Theology from the Jesuit
Faculty of Philosophy and Theology/MG. Published the work MARIA TUPANSY – the
Auto da Assunção de São José de Anchieta by Edições Loyola (2022). Coordinator
of the Unisinos Jesuit Memorial and the Anchietano Research Institute –
Unisinos/RS (Brazil).
ABSTRACT
The existence of a
mariology in José de Anchieta's theatrical writings is easily demonstrable,
but, far from being tied to the archetypes of his dramaturgy, he inserted
himself into indigenous cultures and customs in such a way that he was able to
offer original forms. As a good theologian that he was, he carried out a deep
and thorough process of inculturation of his experience throughout his life,
making his allegory migrate from Mary, Mother of Jesus to “Maria Tupansy” from
the village of Reritiba. This process of decolonizing your own experience is an
important step that will make it possible, using theater and other catechetical
instruments, to present “Maria Tupansy” from the Tupi matriarchy perspective.
By resuming Father Manoel da Nóbrega's missionary project, he concludes his
theatrical corpus by offering the Indians a new character built from the
remnants of the “old women” tradition and evoking their authority in the social
and political space. It will be on the Reritiba mission, with the document when they took an image to Reritiba (1590), that José de Anchieta
will carry out several processes of decolonization and resignification of his
marital experience, giving a political, pedagogical and religious role to his
fictional character.
Keywords: Anchietano theater. Maria Tupansy. Welcomed in the villages. Feminine. Matriarchy.
Reviewed by Current Scientific Journal
on
novembro 12, 2023
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