The contemporary theatre has not abandoned playwriting. New forms of dramaturgy are being affirmed ─ adaptation, collage, collective playwriting. That is the character of contemporary production.

But when a play is based on a literary text, we take the risk to see literature on stage.

That was not so in the one-woman play A Confissão de Leontina, based on the story by Lygia Fagundes Telles. What we see is the power of theatre through the power of an actress, and literature disappears as Leontina's story and presence takes form.

Kelzy Ecard is a Brazilian actress who began her career working with the director Moacir Chaves and the actor Pedro Paulo Rangel, after acting training at the Escola de Teatro Martins Pena, in Rio de Janeiro. Kelzy goes deeply into what hides between the lines of the text, giving us what is between the eyes of Leontina.

The story is about a girl who came from the country to the big city, and is accused of murder. Leontina is innocent although she is "responsible" for the crime. She runs away from solitude and despair and finds her destiny. She turns into the victim and the author of a tragedy.

The settings are simple, but convenient to let Leontina be herself as the owner of the stage. Video, created by Geraldo Pereira and Bernardo Mortmer, weaves into the scene at moments of the play, the most dramatic ones, where Leontina confesses the crime, when she first meets the city. This is a very dangerous resource to be used, but is well done and does not compete with the actress; it works to enhance the acting. Antonio Guedes direction is certain − it serves both the text and the actress as well.

But why such a risk to act a story that was meant to be read, a literary piece? Why such a jump in the dark? Kelzy Ecard reveals her motivation in the play's program:

Staging this monologue came from a deep identification that I had with this character's universe since my first reading of the story. My history does not remember Leontina's but all my childhood - living on the country - was populated by those images and memories described by her; it is almost as Leontina and all those that she introduces to us were my old fellows and that's why I have an immense affection for them.

Lygia's and Kelzy's Leontina meet in a play that is simple, but extremely strong. It touches us with its sincerity. It is a moment of joy and life on stage.

A Confissão de Leontina

By  LYGIA FAGUNDES TELLES
Direction ANTONIO GUEDES
With KELZY ECARD
Scene and costume designer NEY MADEIRA
Video GERALDO PEREIRA and BERNARDO MORTMER
Light designer BINHO SCHAEFER
Music  PAULA LEAL
Production DUDU SANDRONI

CONTACT LEONTINA  kelzy@uol.com.br