Imoral Soul

The Brazilian actress Clarice Niskier has adapted the book “The Immoral Soul” by Nilton Bonder for the stage, aiming for the mobilization of contemporary viewer´s thoughts and emotions. The play deconstructs and reconstructs the history of civilization´s millenary concepts, such as the body and soul, right and wrong, the betrayer and betrayed, and obedience and disobedience. It is based on the history of the Old Testament, on parables of Jewish wisdom besides historical and scientific information. The monologue elaborates on themes such as religion and biology, showing that human consciousness is formed by the fantastic discovery of learning that our task in the world is not only one of procreating but also transcending ourselves, under the right circumstances.

The need to transcend, many times seen as a form of “treason”, will always be vital for the continuity of the species. That is the concept of soul: a force of “betrayal” that brings along the power of the future instructions. These instructions collaborates with the evolution of the species, whereas tradition brings along the power of past instructions, cooperating with the reproduction of the species. The challenge that men face is to keep the tension and the conscious dependence between these two great forces in both their personal and social relations. By keeping our conservative and transgressive forces in constant dialogue, it is possible to live in a world with less violence. A world where conflicts and fears do exist, but where tolerance takes a privileged stand.
The word super-vision may also have the meaning of a large or superior vision, which is able to unfold things that other eyes are not capable of seeing. Just as the character Super-man and his X-ray vision, mentioned in the play.

It can also mean an over-vision or a view from the above of things that are taking place. A good example would be Gagarin over-flying the planet and stating: “The Earth is blue”. That is what I do with Clarice, this talented actress, brave woman, seeking her place. I try to provide her with an outside vision, at times from above, in other to better understand and help her keep her orbit. My utmost pleasure is to observe and help an actor carry out the divine exercise of his craft, rather than make up special effects of sound and light, blockings, and then announce: “the director”. My dream is to see an actor/owner of his own text who is therefore able to light up the text of others through his ideas. Am I thus “betraying” the theater? Or just transgressing a rule in order to make the theater evolve? Let us leave it to the words of Rabbi Bonder, filtered by Clarice Niskier´s consciousness, opinion and sensitivity. I ´m just “ the eyes”.