Aporia narrativa e humorismo em Boca de Ouro, de Nelson Rodrigues

Abstract

This article proposes a reading of the dramatic structure of Boca de Ouro (1959), written by Nelson Rodrigues, from procedures used by the author, such as non-presence and humour. In the play, the playwright highlights the volubility in the reconstitution of memory by designing three different versions of Boca de Ouro, a bicheiro from Rio de Janeiro. His image is constituted mythically as the moving narrative of its facets advances by the voice of his former mistress. In elaborating the description of the protagonist, the author establishes an equally moving dramaturgical game, which does not care to answer the gaps of the fable, thus composing a narrative aporia.