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Master's Dissertation
DOI
Document
Author
Full name
Carolina Fiori Godoy
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Soares, Marcos Cesar de Paula (President)
Gonçalves, Marcos Tadeu Fabris
Pacheco, Ana Paula Sá e Souza
Viscardi, Roberta Fabbri
Title in Portuguese
Buster Keaton nos bastidores do sonho e da indústria cinematográfica: uma análise de The Playhouse (1921)
Keywords in Portuguese
Anos 1920
Buster Keaton
Indústria cinematográfica
Surrealismo
Teatro épico
Trabalho coletivo não-alienado
Vaudeville
Abstract in Portuguese
Sendo o curta com uma das gags impossíveis mais famosas de Buster Keaton, The Playhouse (1921) trabalha com a relação existente entre o mundo onírico e a realidade, iniciando com um sonho da personagem de Keaton em que ele interpreta todos os papéis de um espetáculo, de atores e membros da orquestra aos espectadores da apresentação. Em seguida, acompanhamos Keaton em seu dia de trabalho após ser despertado pelo chefe, e vemos que diversos elementos de seu sonho ainda estão presentes na realidade desse faz-tudo do teatro. Lançado no segundo ano de trabalho de Keaton como diretor de suas próprias obras, o curta coloca como tema central a questão do trabalho no teatro e no cinema, apresentando diferentes possibilidades e experimentações no campo social e cinematográfico. Deste modo, esta dissertação propõe uma análise acerca da construção dessa temática no curta, refletindo sobre os escritos de Walter Benjamin e Michael Löwy sobre a relação entre o cinema, a comédia muda norte-americana em especial o trabalho de Keaton e uma crítica feita à sociedade capitalista industrial; e a teoria de Bertolt Brecht sobre o teatro épico.
Title in English
Buster Keaton in the backstage of dream and film industry: an analysis of The Playhouse (1921)
Keywords in English
Buster Keaton
Epic theater
Film industry
Non-alienated collective work
Surrealism
The 1920s
Vaudeville
Visual rhymes
Abstract in English
As the short movie that holds one of the most famous impossible gags made by Buster Keaton, The Playhouse (1921) works with the relation between the oneiric world and reality, beginning with a sequence dreamed by Keaton's character in which he plays all the roles in the spectacle, from actors and musicians in an orchestra to the spectators of the show. After this dream, we follow Keaton during his day at work since the moment he was woken up by his boss and we notice that various elements of his dream are still present in the reality of this handyman from the theater. Released in the second year of Keaton's work as a director of his own films, this short movie presents as its main theme the working world in the theater and the cinema, putting forward different possibilities and experimentations in the social and cinematographic fields. Therefore, the following master's dissertation brings an analysis of the way this theme is presented in the short movie, considering the writings of Walter Benjamin and Michael Löwy about the relation between cinema, American silent comedy - especially Buster Keaton's work - and the criticism of capitalistic industrial society; and Bertolt Brecht's theory about epic theater.
 
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Publishing Date
2019-08-13
 
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