Teatro épico no Brasil: sobre a atualidade de Brecht
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Data
2012-12-11
Autores
Trovo, Maria Caroline [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O final da década de 1950 marca o início do percurso que levou ao desenvolvimento do teatro épico de Bertolt Brecht no Brasil. No ano de 1958,a primeira encenação profissional do dramaturgo alemão e o sucesso da apresentação de Eles não Usam Black-tie, de Gianfrancesco Guarnieri, no Teatro de Arena, levaram à criação do Seminário de Dramaturgia do Arena, aos estudos da obra de Brecht e à apropriação dos procedimentos artísticos brechtianos. Por sua vez, os Centros Populares de Cultura (CPC), criados em 1962 e extintos pelas forças militares em 1964, foram fortemente influenciados pela teoria e prática teatral brechtiana. O direcionamento da cena teatral brasileira ao teatro épico coadunou-se com o movimento ascensional das massas do início dos anos 1960 e à perspectiva de transformação social via revolução socialista. O golpe militar de 1964, no entanto, que interrompeu a mobilização política do início da década e pôs em refluxo a agitação cultural, teria retirado a perspectiva empírica de transformação que embasava o teatro épico de Brecht e tornado-o obsoleto. Portanto, nos anos 1990, no contexto de retomada do teatro político, coloca-se a questão da atualidade de Brecht, da potência crítica de suas técnicas artísticas, como o efeito de distanciamento. O presente trabalho, nesse sentido, analisa a peça Ópera dos Vivos. Estudo Teatral em Quatro Atos, da Companhia do Latão, grupo teatral paulistano que se propõe a efetivação de um teatro épico brechtiano, como ponto de partida da discussão da atualidade do dramaturgo na sociedade brasileira contemporânea
The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht’s work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society
The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht’s work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society
Descrição
Palavras-chave
Brecht, Bertolt 1898-1956, Ciências sociais, Teatro, Theater
Como citar
TROVO, Maria Caroline. Teatro épico no Brasil: sobre a atualidade de Brecht. 2012. 187 f. Tese (doutorado) - Universidade Estadual Paulista Júlio de Mesquita Filho, Faculdade de Ciências e Letras (Campus de Araraquara), 2012.