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Mémoire de Maîtrise
DOI
https://doi.org/10.11606/D.8.2020.tde-08072020-185225
Document
Auteur
Nom complet
Deborah Furlan Scavone
Adresse Mail
Unité de l'USP
Domain de Connaissance
Date de Soutenance
Editeur
São Paulo, 2020
Directeur
Jury
Betti, Maria Silvia (Président)
Flores, Fulvio Torres
Oliveira, Samir Signeu Porto
Puglia, Daniel
Titre en portugais
A dramaturgia curta de Thornton Wilder no período compreendido entre 1957 e 1961: análise de The Wreck on the Five-twenty-Five, Someone from Assisi e Childhood
Mots-clés en portugais
Off-Broadway
Circle in the Square Theater
Palco em arena
Peça em um ato
Thornton Wilder
Resumé en portugais
Este estudo propõe a análise das peças curtas The Wreck on the Five-Twenty-Five (1957), Someone from Assisi (1961) e Childhood (1960), concebidas pelo dramaturgo estadunidense Thornton Wilder. No fim da década de 1950, Wilder retoma a escrita de peças curtas e projeta os ciclos The Seven Deadly Sins (Os Sete Pecados Capitais) e The Seven Ages of Man (As Sete Idades do Homem) para o palco em arena do Circle in the Square Theater, no Greenwich Village, Off-Broadway da cidade de Nova York. Em 11 de janeiro de 1962, estreia o espetáculo Plays for Bleecker Street: Plays in One Act for an Arena Stage apresentando Infancy, Childhood e Someone from Assisi sob a direção de José Quintero, cofundador do Circle. A despeito do sucesso da temporada, Wilder desiste do projeto por acreditar que as peças necessitavam de muitas revisões. O ciclo Sins nunca esteve a seu contento; quanto ao ciclo Ages, Wilder disponibiliza Infancy e Childhood, mas interrompe a escrita de Youth, The Rivers Under the Earth, A Ringing of Doorbells e In Shakespeare and the Bible. Este estudo inclui trechos traduzidos das peças em análise com o objetivo de ressaltar as rubricas minuciosamente pontuadas por Wilder, nas quais o autor buscava orientar os atores na criação dos subtextos de suas personagens. Serão discutidas as características formais e estilísticas das três peças, as fontes que contribuíram para a identidade dramatúrgica do autor, a peça em um ato, o épico e a representação do tempo no teatro wilderiano. Wilder acreditava que as produções do Off-Broadway constituíam uma boa alternativa aos espetáculos comerciais da Broadway, visto que nelas o investimento financeiro era menor, os ingressos eram acessíveis e os dramaturgos podiam usufruir de independência autoral.
Titre en anglais
Thornton Wilder´s Short Dramaturgy from 1957 to 1961: Analysis of the Wreck on the Five-Twenty-Five, Someone from Assisi, and Childhood
Mots-clés en anglais
Off-Broadway
Arena Stage
Circle in the Square Theater
Play in one act
Thornton Wilder
Resumé en anglais
The purpose of this study is to analyze American playwright Thornton Wilder's one-act plays The Wreck on the Five-Twenty-Five (1957), Someone from Assisi (1961) and Childhood (1960). In the late 1950's Wilder turned his attention to the short play form and envisioned two cycles depicting The Seven Deadly Sins and The Seven Ages of Man for the arena stage of The Circle in the Square Theater, New York City's Greenwich Village, Off-Broadway. The plays Infancy, Childhood and Someone from Assisi premiered at Circle in the Square on January 11, 1962, as part of the evening called Plays for Bleecker Street: Plays in One Act for an Arena Stage, directed by its co-founder José Quintero. Although the season was a success, Wilder believed his plays needed many revisions. He never wrote the Sins cycle to his satisfaction; as for the Ages cycle, he delivered Infancy and Childhood, but Youth, The Rivers Under the Earth, A Ringing of Doorbells and In Shakespeare and the Bible were left unfinished. This study also comprises excerpts of the three original plays translated into Portuguese to show how Wilder worked in detail his stage directions and punctuation marks so that actors could convey their appropriate subtexts on stage. We will discuss the drama influences on Wilder´s theatre, the play in one act, the epic theatre and the way Wilder managed the concept of time in his plays. Wilder believed Off-Broadway productions were a good alternative to the expensive and business-oriented Broadway shows because they were economical, tickets were affordable, and playwrights could experience more independence.
 
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Date de Publication
2020-07-09
 
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