Pygmalion

 

 

Bernard Shaw play

adaptation by Ruth Salles
based on the translation and adaptation by Miroel Silveira (1940s)

NOTE

George Bernard Shaw (1856-1950) was an important Irish writer, who fought for women's rights and against the exploitation of the working classes. He was a journalist, essayist, novelist and playwright. In 1925 he was awarded the Nobel Prize for Literature, which he wanted to refuse, as he disliked public honors. His wife, however, managed to get him to accept it as a tribute to their homeland, Ireland. The amount, however, he rejected, asking that it be used to finance the translation of Swedish books into English.

Two great plays by Bernard Shaw were “Santa Joana” (about Joan of Arc) and Pygmalion. The word Pygmalion comes from a mythological figure, a man who did not appreciate any woman and who carved one as he conceived her. Falling in love with her, he managed to give her life. Shaw's play is the story of a phonics expert who discovers a traveling florist, almost beggar, whose verbiage is full of slang. In a challenge to himself and a friend, he decides to turn her into a high-class lady. “Pygmalion” was also based on the well-known film “My Fair Lady”.

As the play was too long for an 8th grader, I tried to condense it a bit, and increase the number of characters because of the number of students in the class. The slang also needed to be modernized, as the two existing adaptations were made in the 40's and 60's. Miroel Silveira made the play take place in Rio. Millor Fernandes let it take place in England. As for the text, I based myself on that of Miroel Silveira. This one shows to perceive different ways of speaking from different neighborhoods of Rio. I preferred not to place the play in a special place and to talk about the differences in speaking from the northeast, gaucho, mineiro and capixaba. The northeast, the gaucho and the mineiro, as well as an Italian immigrant (or an immigrant), only appear in the First Act. Those who come from the Holy Spirit remain in the play. Hence its various terms, such as "it went bad", "it's too much", "straw", "shoes", "dryer", "coffee without sweets", "to throw away", "injured", "waste", "what is the ”. A caipira later appears with his language of the countryside.

I wrote the lyrics for a song to be sung at the end of the piece, the melody can be created by the music teacher.

Ruth Salles

 

CHARACTERS

Henrique Mascarenhas – phoneticist
Hilda Mascarenhas, her sister
Hortênsia Mascarenhas, her other sister
Dona Candida, its ruler
Joanita Mascarenhas, her mother
Dalva, her mother's maid
Mary, her mother's cupbearer

Dona Marieta Rivadavia
Clara Rivadavia, her daughter
José Rivadavia, his son

Colonel Guimarães
Elisoana Garapa (Elisa)
Eliseu Garapa, his father

theater doorman
First passerby sheltering from the rain
Second passerby sheltering from the rain
Woman sheltering from the rain
those who dance
Those who sing

 

FIRST ACT

Door of a theater at night. A torrential summer rain falls. From several points, shrieks and whistles call for taxis. Passersby run, looking for shelter under the theater's marquee. Among the refugees there are a woman and her daughter, as well as a young flower seller, half a beggar, and the theater porter. Everyone is looking at the rain, except for a man who is to one side, but close to the audience, taking notes in a notebook.

CLARA RIVADAVIA: – I'm freezing, Mom! Where did José end up? It's been about 20 minutes since you left in search of a taxi!

DONA MARIETA RIVADAVIA: – It hasn't been that long, Clara, but he could have come back by now.

CLARA RIVADAVIA: – He doesn't have time, mother!

PORTER: – Wow, I thought I was going to take a break, but nothing, just. The way is not to leave here until this train passes. If I had a cup of coffee, I'd give it a whirl.

HENRIQUE MASCARENHAS (the man who takes notes, says immediately): – I've already seen that he is from Minas Gerais.

FIRST PASSENGER (he doesn't even close his umbrella, because the rain is windy, and he takes shelter there): – Barbaridadê! In exchange for so much water? Ah, if I had my bagual here, I would go out with him in the galopê, like I used to do back in Querência, Brazil!

HENRIQUE MASCARENHAS: – This one is from Rio Grande do Sul (and writes down quickly).

SECOND PASSER: – Come closer, hôme. Ara, get pissed, no! (thunder is heard) Here it flashes wildly. I wish I had my leather blanket, breastplate and knee pad and also got on my fourth, just as I would run after the ox when it swung out.

HENRIQUE MASCARENHAS: – This one is from the northeast (and writes down quickly).

JOSÉ RIVADAVIA (arrives all wet): – No taxi, Mama. It went bad. My shoes are soaked. Does anyone have a dryer there?

HENRIQUE MASCARENHAS (noting): – People from the north of the State of Rio; or else they are of the Holy Spirit.

CLARA RIVADAVIA: – I am insulted. I don't put faith in you! Not even to bring a taxi! What a waste!

JOSÉ RIVADAVIA: – Don't be straw, sister. I go again!

(Runs out in the rain and bumps into the florist, who was in the corner, and her flowers fall into the puddle.)

ELISA GARAPA (the florist): – Divagar with the dishes, Mr. Zé. On a vision, no?

JOSÉ RIVADAVIA (speaks and runs away): – Sorry, girl, it was unintentional!

WOMAN WHO TAKES SHELTER FROM THE RAIN: – Ma che succede con esta poverella?

HENRIQUE MASCARENHAS (noting): – Italian immigrant.

COLONEL GUIMARÃES (she takes shelter from the rain and talks to the florist): – What happened?

ELISA GARAPA: – It was that Zé, who gave me a bump and then left. Just today that I didn't rank anyone's silver.

COLONEL GUIMARÃES: – I'll help you get everything, girl.

ELISA GARAPA: – Thank you, young man. One lacks.

DONA MARIETA: – How do you know my son's name is José?

ELISA: – I don't know. It's just that we call Zé, or Mané, any guy who shows up. But does the madam come in with someone to help me out?

CLARA: – It was just what was needed!

DONA MARIETA: – Clara, that's me! Girl, I ain't got no change, I only have a twenty.

ELISA: – Lion tamarin I change. Hey there, madam. (give change)

CLARA: – That's all?

DONA MARIETA: – That's fine.

ELISA: – It's all ten reais, girl. I don't want to troll anyone. Right, madam? Do you always do stitches around here? (turns to Colonel Guimarães): – And you, General, won't you buy me some frozinha?

DOORMAN: – Have a try, girl. There's a guy there taking notes of everything we're saying.

(Everyone turns to Henrique Mascarenhas.)

ELISA (frightened): – Wow! And? I pay a license to sell flowers on the street. I'm just a straight girl. I'm just family.

HENRIQUE (he sees that everyone turns to him and complains.): – Come on! Who do you think I am, you cretin?

ELISA: – Oh, general, don't let the cop put me in jail. I'm just a straight girl, I'm just a family.

COLONEL GUIMARÃES: – Calm down, he's not a cop. (to Henrique): – If it's not indiscretion, you're noting the way people talk, aren't you?

HENRIQUE: - That's right. I am a specialist in phonetics and lexicology. That's why I distinguish the ways of speaking from south to north. The language changes from here to there. And since I'm always studying the subject, I write down what people say.

ELISA: – Well, you should be ashamed and don't meddle in people's lives, you know?

HENRIQUE: – Shut up! Whoever speaks so wrongly as you should not open his mouth!

ELISA: – Vote! (when she speaks, Henrique writes it down and repeats the word)

HENRIQUE (to the colonel): – Do you see this girl, with that vile language, that keeps her in the mud? Well then. In six months, I would be able to present this tough guy at any high society reception. I'll say more: she could even get a job as a saleswoman in a fancy store. I dedicate myself to a really scientific work on phonetics.

(Elisa, who was bent over picking the flowers, raises her head and listens to what she hears.)

COLONEL: Well, I also study Portuguese and colonial dialects!

HENRIQUE (enthusiastically): – Don't say! Then maybe you know Colonel Guimarães, the one who discovered the true pronunciation of Sanskrit!

COLONEL: – Well, Colonel Guimarães is me! And you, who are you?

HENRIQUE: – Henrique Mascarenhas, discoverer of the “Mascarenhas universal alphabet”.

COLONEL (enthusiastically): – Well, know that I came from Portugal especially to meet you.

HENRIQUE: – And I wanted to go to Lisbon to see you! Here's my card. Come see me tomorrow!

ELISA (to the colonel): – Buy me a bag, general. I don't have the money to pay for the ride.

HENRIQUE: – Liar! Right now I had change for a twenty! (think a little). In any case, take it as a gift (give a note of ten).

ELISA (happy): – Thanks, uncle!

PORTER: – Look! The rain has passed!

ELISA: – Let's take the bus, people!

(José arrives, without a taxi, and everyone hastily disperses).

 

 

SECOND ACT

Professor Henrique Mascarenhas' house, very comfortably furnished. On the table where he works there is a stereo and a tape recorder. Colonel Guimarães is seated at the table, on which there are many folders.

HENRIQUE (closing the last folder): - Well, I think I've already shown you everything.

COLONEL: I'm just blown away. I, who knew how to distinguish twenty-four vowel sounds, am devastated by your hundred and thirty sounds!

HENRIQUE: – Ah, that is learned with practice, but… (the doorbell rings)

DONA CANDIDA (coming into the room): – Excuse me, Professor Henrique, but your sisters are there.

HENRIQUE (putting his hands on his head): – At this hour?

(The sisters enter, one brings a plate wrapped in a napkin.)

HILDA and HORTENSIA: – Good morning, Henrique! (they hug him)

HENRIQUE: - Huh? Oh! Good Morning. (when they look at the colonel) This is my friend Colonel Guimarães.

HORTENSIA (greetings): – Pleasure.

HILDA (greeting): – How are you?

COLONEL: Pleasure, ladies!

HENRIQUE: – What did you come here to do at such an inappropriate time? We're talking about work.

HILDA: We came to bring you a pie Mama made for you, but if you're already shooing us away, we'll take it back.

HENRIQUE: – A pie? No, no, stay awhile. (the bell rings again)

DONA CANDIDA (appears again): – Professor, there's a girl there who wants to talk to you.

HENRIQUE: – A girl? What does she want?

DONA CANDIDA: – I said that you will be very happy when you find out what she came here to do.

HENRIQUE: – Why, why? Is her pronunciation interesting?

DONA CANDIDA: – A horrible thing, Professor.

HENRIQUE (to the colonel): – Let's meet her, don't you think? Who knows, maybe we'll record something! (Ms. Candida): – Send them in.

(The florist Elisa enters solemnly, dressed in Sunday clothes, wearing a straw hat with a blue, a yellow and a red feather. The colonel is moved by the young woman's appearance.)

HENRIQUE: – Well, well! But it's yesterday's florist! It's no use to me. I have already noted what was most interesting in his speech. (to the girl): – You can go. I do not need you.

HORTENSIA: – Bro! Is that any way to treat a girl? At least introduce us to her.

HENRIQUE: – Go there! These are my sisters Hilda and Hortênsia, and this is Colonel Guimarães. Ready. You can walk.

ELISA: – You are making fun of me, but my money is worth as much as yours.

HENRIQUE: – Your money? But for what?

ELISA: – I heard yesterday that you could change me. I wanted to work in a flower shop, but nobody accepts me because I don't speak properly. But I pay.

HENRIQUE: – How much?

ELISA: – Ah, you mentioned silver, the conversation is silent, right? If you were an induced guy, he'd invite me to sit down.

HENRIQUE (to the colonel): – What do you think, Colonel Guimarães? Do I make her sit down or do I throw that scoundrel out the window?

ELISA (frightened): – I don't want to be called that. I'm just family.

HILDA: – Henry, how do you treat the girl like that? How horrible!

HENRIQUE: – This thing?

HORTENSIA: – Thing? So, for you, is a woman a thing, an object? (to Hilda): – Let's go, Hilda, this brother of ours has no way.

HILDA: – Machista!

HENRIQUE: – Hey, hey! But leave the pie!

HILDA (walks out with Hydrangea): – You already have too much pie in your language!

HENRIQUE (grumpy, yells at Elisa): – Sit down!

(Elisa recoils, startled, but does not sit down.)

COLONEL GUIMARÃES (kindly to Elisa): – Please sit down.

ELISA (sits down and looks gratefully at the colonel): – Thank you, General.

HENRIQUE (calmer): – Say your name!

ELISA: – My name, on paper, is Elisoana.

HENRIQUE: – Elisoque?

ELISA: – They call me Elisa, but my father is Eliseu and my mother Joana and they wanted to put their names together. I'm Elisoana Garapa.

HENRIQUE: – Misery of name!

ELISA: – You can't make fun of my name, no. And the names of you and your sisters? Your parents wanted the three of them to start with the letter Agá, do you think I didn't hear? Henrique, Hilda and Hortênsia, ready!

HENRIQUE: – Shut up, naughty girl.

ELISA: – Me? naughty? Hmm…

HENRIQUE: – And how much do you plan to pay per class?

ELISA: – Five reais, and that's a lot.

HENRIQUE: - Just?

ELISA (almost crying) – Oh, man, do you think I'm a granfa?

COLONEL: Professor, I'm interested in the subject. If you can prepare her for that reception at the Embassy, I will proclaim you the world's first teacher! (to Elisa): Don't worry, Elisa, I'll pay for these lessons.

ELISA: – Thank you very much, General. The shô is a partner to the right.

HENRIQUE: – All right. (Calls the ruler): – Dona Candida! (she walks in) Give this girl a bath, scrubbed!

ELISA: – Vote! No! I'm clean! (hides behind the colonel)

DONA CANDIDA: – But, Professor!

HENRIQUE: – I don't want but, not half but. And if she complains, slap her.

ELISA: – No! No! I call the puliça.

HENRIQUE: – And burn all her clothes and order a trousseau for her at the corner store. Dress her up in your own clothes in the meantime.

COLONEL: – Think about it, Professor Mascarenhas.

DONA CANDIDA: – Yes, think about it, Professor. You can't be stepping on everyone like that.

HENRIQUE (speaking softly): – My dear colonel, I don't want to step on anyone. I want to transform this girl, help her take a new position in life. For that, she will be living here.

DONA CANDIDA: But are you going to use her to work with her, and you're not going to pay her anything?

HENRIQUE: – Here she will have everything: clothes, food… and if I give her money, she will spend it on drink.

ELISA: – Hey! Hold that marimba there! Nobody ain't seen me drunk, sack?

DONA CANDIDA: – Come on, Elisa. I take good care of you. (leave)

COLONEL: But, Professor, do you think it's good for her to live here with us?

HENRIQUE: – With the best intentions. Even why, I don't want anything to do with women. They're a horror! Full of jealousy and demands. If the man wants to go north, the woman wants to go south, and they keep pulling each other, as if they were playing tug of war. I'm a bachelor, and a bachelor I'll stay until I die.

COLONEL (very seriously): – But since I'm involved in the case, I feel responsible for the girl. Let no advantage be taken from your dependent situation.

HENRIQUE: – Of this thing? Why, to me it will be sacred. All my students are as if they were made of wood, and I too become a wooden man, that's okay. (Both return to work table and look at folders.)

DONA CANDIDA (enters after a few moments): – Okay, Professor, but now I want to talk to you.

HENRIQUE: – What happened?

DONA CANDIDA: – I want you to be careful with the language you use with the girl.

HENRIQUE: – Of course! But I always care what I say!

DONA CANDIDA: – Not always. With anything, you go crazy.

HENRIQUE: – All right. Only that?

DONA CANDIDA: – Not only. You also have to set an example in manners and not go down barefoot or in your pajamas for breakfast.

HENRIQUE: – Oh, come on! Right. But my pajamas, by the way, smell like benzene.

DONA CANDIDA: - Yes, but if you don't use your pajamas as a napkin...

(The bell rings again. Dona Candida leaves to open the door.)

DONA CANDIDA: – There's a cart driver there who wants to talk to you. He says he's the girl's father.

HENRIQUE: - Well, send that rogue in. (Dona Candida leaves.)

COLONEL: He might not be a scoundrel, Professor.

HENRIQUE: – Of course it is.

DONA CÂNDIDA (enters and makes the cart driver enter): – Come in, you Garapa!

GARAPA: – Professô Henrique?

HENRIQUE: - It's me. And who are you sir?

GARAPA (bows down a little): – Eliseu Garapa, your servant. I came to deal with a very important matter.

HENRIQUE (to the colonel): – This one comes from the countryside, Colonel. (to Garapa): – Well, speak.

GARAPA: – I want to know if my daughter is here!

HENRIQUE: – It's good that you have fatherly feelings. She is here, yes, and you can take her immediately.

GARAPA (scared): – Huh?!

HENRIQUE: – Or do you think I'm going to support your daughter?

GARAPA: – I understand that Mr. teaches people how to speak properly and will teach her. The fia is mine. I lend her, and what is my part in this trust?

HENRIQUE: – So Mr. Garapa wants to extort money from me. I call the police.

GARAPA: – But, by accident, did I ask for some money?

COLONEL: Moderate your language, Professor! (to Garapa): – How did you know your daughter was here?

GARAPA: – It was because of the kid she sent to get her little things. I go up there in the buteco.

HENRIQUE: – Ah, at the bar, drinking a couple of drinks, isn't it?

GARAPA: – What's the matter? Buteco is a poor man's club, young man. And I had to give a lot of money so the kid gives me the things I brought in the wagon. But, sir, stay in the place of a father, and tell me what I could think.

HENRIQUE: – So you came to save her? Well, you can take it now!

GARAPA: – Who wants to take her? Did I say you were? I don't want to spoil the girl's career, don't you understand me? I just want my father's rights; I lend my daughter to serve the student to my son and I don't receive anything? Say: what is one hundred real for sinhô?

COLONEL: – Mr. Garapa, Professor Mascarenhas' intentions are entirely honest.

GARAPA: – If I suspected that it wasn't, I'd ask for a hundred, I'd ask for two hundred.

HENRIQUE (to the colonel): – Deep down, I see a certain primitive justice in him, colonel.

COLONEL: But is it right to give this man money?

GARAPA: – Don't say that, coroné. I'm poor. When I want something, someone always comes to say: this is not for your mouth. And I need to warn myself. Sometimes I need moss, or a drag there in the gafiera.

HENRIQUE (to the colonel): - Colonel, if we decided to teach this man for three months, he could make a remarkable minister, a politician!

GARAPA: – Very gardecido, but I don't want to. These people lead a dog's life. My situation is mine, of a poor person in need. We really see.

HENRIQUE: – You are right. I'll give you five hundred reais instead of a hundred!

GARAPA: - Are you crazy? The muié is capable of wanting to save money. I just want to have a little fun.

HENRIQUE: – Then take your one hundred reais.

GARAPA: – Gardecido, you boy! Inte another time.

(He goes out but bumps into Elisa, who is so different and well-combed that he doesn't recognize her.)

GARAPA: – Sorry, girl!

ELISA: – What is it, old man? Are you floating? It's me, Elisa!

GARAPA: – Not possible. Virgin Santa!

ELISA: - Dad! If you saw how easy it is to shower here. There's cold water tap, hot water, brush, soap… That's why the granfa are fragrant!

GARAPA: – I'm leaving, fia. Behave yourself. (to Henrique): – If you want to take care of her, you need to give her some slaps. Inte, my people. I come back to see her every day. (He leaves)

DONA CANDIDA: – Elisa, the clothes have arrived. Come on and try it.

ELISA (going out with her): – All right!

HENRIQUE (to the colonel): – Colonel Guimarães, what hard work awaits us!

COLONEL: – Hmm… It's not good to think.

 

(to be continued)

 

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