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Master's Dissertation
DOI
https://doi.org/10.11606/D.8.2011.tde-13072011-143257
Document
Author
Full name
Priscilla Herrerias
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2010
Supervisor
Committee
Vassina, Elena Nikolaevna (President)
Almeida, Jorge Mattos Brito de
Silva, Antônio Carlos de Araújo
Title in Portuguese
A poética dramática de Tchékhov: um olhar sobre os problemas de comunicação.
Keywords in Portuguese
Anton Tchékhov
Drama moderno
Literatura russa
Teatro russo
Teoria teatral
Abstract in Portuguese
As lacunas nos processos de comunicação entre as personagens dramáticas de Anton Tchékhov (1860-1904) apresentam-se como um traço básico e definitivo de sua poética. A análise dos processos comunicativos entre as personagens das quatro principais peças do autor - A gaivota (1896), O tio Vânia (1897), As três irmãs (1900) e O jardim das cerejeiras (1904) - elucida a criação de um novo paradigma artístico em seu sistema dramático, cujas inovações marcaram profundamente todo o teatro do século XX e exercem enorme influência até os dias de hoje. O presente trabalho apresenta um recorte das obras selecionadas em relação ao contexto russo da época, evidenciando inquietações que anunciavam transformações profundas na sociedade. Neste intuito, retoma a teoria dos gêneros literários e suas principais críticas, que realçaram a importância da relação entre os gêneros e o momento histórico em que se consolidavam; assim, adquire relevo nas análises o conceito de "romantização" dos gêneros proposto pelo filósofo e teórico literário russo Mikhail Bakhtin (1895-1975), a partir da ideia de "supremacia" do único gênero em devir. Com a emersão de elementos épicos e líricos na dramaturgia tchekhoviana, observa-se como o diálogo, forma do gênero dramático por excelência, motor das ações que impulsionam o avanço do enredo no sistema dramático tradicional, tem sua unidade enfraquecida, fazendo com que o drama tchekhoviano necessite da encenação para realizar-se plenamente. O "invisível" e o "indizível", aquilo que subjaz às réplicas, que está latente justamente nas lacunas dos processos comunicativos entre as personagens, torna-se vital a este novo teatro, que acolhe e conta com a imaginação de leitores/espectadores.
Title in English
Chekhov's dramatic poetics: a view on the communication problems
Keywords in English
Anton Chekhov
Drama theory
Modern drama
Russian literature
Russian theatre
Abstract in English
The gaps in the communication processes between the dramatic characters of Anton Chekhov (1869-1904) consist on a basic and definite trait of the author's dramatic poetics. The analysis of the communication processes of four of Chekhov's major plays - The seagull (1896), Uncle Vanya (1897), Three sisters (1900) and The cherry orchard (1904) - elucidate the creation of a new artistic paradigm in the author's dramatic system, the innovations of which deeply affected the twentieth century theatre and have exerted a major influence until today. The study approaches the selected plays firstly considering the Russian context of the period, highlighting historical transformations that were already on course. Secondly, it examines the literary genres theory, as well as the most important criticism it suffered. The concepts developed by the Russian philosopher and literary critic Mikhail Bakhtin (1895-1975), which took into account the relationship between the literary genres and the historical moments when they were being shaped, acquire great importance in our analysis. Specially the notion of the novel as a contemporary genre, which embraces and affects all the other genres. After clarifying this influence by identifying the presence of epic and lyric elements in Chekhov's plays, we observe how the dialogue, the traditional form of the dramatic genre, motor of the actions that push the plot forward, has its unit weakened. As a consequence, chekhovian drama needs staging to be fully achieved: what is not visible and cannot be reduced to words, what is latent in the gaps of communication, underlying the characters' speeches, become vital to this new theatre, which welcomes and counts on the imagination of its audience.
 
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Publishing Date
2011-07-13
 
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