Ator sem consciência é bobo da corte
Frentismo Cultural E Realismo Crítico Na Dramaturgia Brasileira De Matriz Comunista, 1973-1979
Datos Bibliográficos
| ID | 5790896 |
|---|---|
| Autores | Mariana Rodrigues Rosell (autor de correspondencia) |
| Año | 2018 |
| Fecha de publicación | 2018-09-25 |
| Open Access | Sí |
| Tipo | THESIS |
| Editorial | Universidade de São Paulo. Agência de Bibliotecas e Coleções Digitais (PUBLISHER) |
| DOI | 10.11606/d.8.2018.tde-25092018-123701 |
| OpenAlex | W2899615435 |
| Idioma | PT |
| Referencias citadas | 3 |
Written by different playwrights, these plays are representative of a theatre project constituted in the 1970s, marked by attempts to retake brazilian stages with a dramaturgy whose main characteristics are the valorization of the word as the structuring axis of the plays, the investment in the search for a formal synthesis according to the historical matter to be represented and the reaffirmation of commitment to political engagement.The analysis of the plays allowed to identify the strong presence of elements of the communist political culture and the proximity of its discourse with the Brazilian Communist Party (PCB)'s political project, which allowed to characterize them as dramaturgy of communist matrix.The attempts to retake the stage took place through a evaluation of theatrical practice in which the playwrights reaffirmed some of the assumptions they had had in the horizon of their dramaturgical writing until then, while attempting to abandon others.Trying to put aside the idealism with which they had read the Brazilian reality and the revolutionary teleology with which they had represented the popular characters, these playwrights did not abandon the defense of a strategy of resistance to the military regime through a front for redemocratization.But the front strategy appears reconfigured, with its focus shifting from a polyclassist front to a front among members of the same social class whose strategies for political action diverged.The search for a formal synthesis suggests the constitution of an "aesthetic front" in which different theoretical matrices were conjugated, evidencing the importance of the formal research for the engaged theater.However, despite these convergent characteristics, the plays express tensions among themselves and expose the impasses and contradictions that marked the modernization of Brazil in the 1970s
Aesthetics · Art · Aside · Communism · Dramaturgy · Geography · Humanities · Literature · Political science · Politics · Sociology · Arts and Performance Studies · Brazilian cultural history and politics · History, Culture, and Society · Law
| Altamente citado | No |
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