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Thèse de Doctorat
DOI
10.11606/T.8.2009.tde-05022010-131410
Document
Auteur
Nom complet
Edson Santos Silva
Adresse Mail
Unité de l'USP
Domain de Connaissance
Date de Soutenance
Editeur
São Paulo, 2009
Directeur
Jury
Silveira, Francisco Maciel (Président)
Angelo, Débora Mallet Pezarim de
Lopondo, Lilian
Silva, Maria Aparecida Caltabiano Magalhães Borges da
Vieira, Alice
Titre en portugais
A dramaturgia portuguesa nos palcos paulistanos: 1864 a 1898
Mots-clés en portugais
Almeida Garrett
Drama de atualidade
Drama histórico
Melodrama
Teatro paulistano
Teatro romântico
Resumé en portugais
O teatro paulistano foi, no período de 1864 a 1898, reflexo do que ocorria na Corte do Rio de Janeiro. De lá eram exportados espetáculos que durante anos encantaram o público da cidade de São Paulo, ávido por diversão e cultura a qualquer preço. Esses espetáculos possuíam como modelo o que era encenado em palcos franceses, cuja dramaturgia apresentava dois veios: a tragédia neoclássica, considerada como teatro sério porque se preocupava com a qualidade literária do texto e, portanto, era dirigida à classe pensante; e o dos dramas românticos, na verdade, melodramas, endereçados à burguesia, classe endinheirada à época, todavia sem lastro cultural. Essas encenações, destinadas, primordialmente, à burguesia, eram ou deveriam ser recheadas de cenas fortes, grandes emoções e levavam ao palco, quase sempre, um enredo previsível e, sobretudo, de cunho sentimental. Se a tragédia neoclássica dirigia-se ao pensamento, os dramas românticos/melodramas eram mera festa para os olhos. Toda essa fermentação teatral chegou ao Brasil via Portugal. Companhias, autores e atores lusitanos deixaram marcas na dramaturgia paulistana do século dezenove - principalmente em encenações que ocorriam nos dois principais teatros da cidade de São Paulo, o São José e o Provisório -, e são essas marcas que a presente tese se propõe a estudar.
Titre en anglais
Portuguese dramaturgy in São Paulo stages: 1864 a 1898
Mots-clés en anglais
Almeida Garrett
Melodrama
Paulistano theater
Romantic theater
Resumé en anglais
The paulistano theater was, during the years 1864 a 1898, a proof about what was happening in the Rio de Janeiro Court. From there, were export any kind of spectacles, which enchanted the public of São Paulo; a kind of public eager for fun and culture and decided to pay for it. Those spectacles or shows had as patterns those performances put on scene on French stages, and which dramaturgy presented two main points: one, the neoclassic tragedy, being considered as the serious theater because it was concerned about the literary quality of the text, and, therefore, it was focused on the thought class. And, the other main point was the romantic drama, indeed, melodramas, for the bourgeoisie, powerful economical class of that time, which had no cultural budget yet. These performances, destined, primordially, to the bourgeoisie, were or would have to be stuffed of strong scenes, great emotions and let to the stage, almost always, a foreseeable plot and, over all, of sentimental matrix. If the neoclassic tragedy was directed to the thought, the romantic dramas/melodramas were just a feast to the eyes. All this theater fermentation arrived to Brazil through Portugal. Portuguese companies, authors and actors left marks in the paulistano dramaturgy of the nineteenth century, mainly in performances which took place in the two main theaters of São Paulo city, such as São José and Provisório, and those marks are what the present thesis has as purpose.
 
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Date de Publication
2010-02-19
 
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