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Matéria publicada na Revista ABRAMUS N° 5
Obras brasileiras, licenciadas pela ABRAMUS, são cada vez mais encenadas no exterior.
Você pode assistir “O Gato Malhado e a Andorinha Sinhá”, de Jorge Amado, em Portugal; “A Dona da História”, de João Falcão, em Israel; “O Analista de Bagé”, de Luís Fernando Veríssimo, na Argentina; e outros tantos autores brasileiros em palcos do exterior. Em tempos de Internet e com o crescimento constante do intercâmbio cultural, os autores brasileiros alcançam países cada vez mais distantes e ganham reconhecimento entre os grupos de teatro. Para que essas peças sejam legalmente apresentadas lá fora, ficam por conta da ABRAMUS as autorizações dos autores filiados e o ree de seus direitos.
Como encontrar o autor?
“O uso das obras de Grandes Direitos (direitos teatrais) é completamente diferente dos pequenos direitos, seja no Brasil ou no exterior”, diz Guilherme Amaral, responsável pelo Departamento de Grandes Direitos da ABRAMUS. Além de não haver um escritório de arrecadação e distribuição gerido pelas sociedades, como é o caso do ECAD (Escritório Central de Arrecadação e Distribuição), toda vez que uma obra for utilizada é necessária uma autorização. “Essa autorização deve ser completa, com prazos e territórios determinados e com outras informações como o teatro em que será encenada a peça, o grupo, etc…”, explica Amaral.
Com a obrigatoriedade da autorização, o produtor da peça tem que localizar o autor na sociedade que o representa, o que é feito em todo o mundo através do número do IPI (Interested Parties Information). Com esse código internacional, é possível localizar autores de qualquer parte do mundo, saber quem os representa e, então, entrar em contato com sua sociedade. “Daí a importância dos filiados terem seus cadastros no IPI”. Na ABRAMUS, assim que o autor se filia à associação, já recebe seu número de cadastro no IPI.
Traduzir e encenar
Portugal é um exemplo de país que encena obras brasileiras. “O texto brasileiro está em alta entre os grupos portugueses”, diz Amaral, que cita os textos de Jorge Amado, João Falcão e Maria Clara Machado entre os mais procurados no país.
França e Espanha, entre outros, também encenam versões de obras de autores brasileiros. “O idioma é mesmo o principal problema que dificulta que mais obras brasileiras sejam encenadas no exterior. Somos um país de língua portuguesa cercados pela língua espanhola”. Guilherme Amaral também lembra que cada vez que uma obra brasileira é vertida para outra língua, de acordo com a lei de direito autoral, o tradutor da obra recebe 40% do valor a ser pago, enquanto o autor da obra original recebe os 60% restantes.
Entre as principais sociedades com as quais a ABRAMUS possui contratos de reciprocidade estão a SACD (França), SGAE (Espanha), SIAE (Itália), SSA (Suíça), SPA (Portugal) e AGADU (Uruguai). E, como todo intercâmbio é uma via de mão dupla, “cerca de 50% das peças encenadas no Brasil são de obras estrangeiras”, conclui Amaral. Opção para brasileiro nenhum botar defeito… Nem ses, espanhóis, italianos…
