Um palimpsesto em andamento: formas e reformas de uma personagem azevediana
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Data
2013-05-02
Autores
Boero, Simone Aparecida Alves Lima [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho tem o objetivo de investigar a figura do malandro, num corpus selecionado dentre as obras de Arthur Azevedo, ―maior autor do teatro brasileiro cômico‖, segundo Guinsburg et al (2006). Nossa hipótese é a de que o dramaturgo, na criação dessa personagem central e significativa nas peças referidas, parte da convenção da comédia que estabelece o uso de personagens da camada média ou baixa da população, do substrato do criado astuto da Comédia Nova e de seus congêneres posteriores até chegar ao que denominamos malandro azevediano. Essa figura teria ali duas importantes funções: a de satirizar o governo e as elites por criarem condições para a disseminação tanto dos malandros quanto da malandragem e a de conferir recriação estética aos homens e mulheres, que, por serem do povo, rapidamente seriam esquecidos. A fim de comprovar essa ideia, dividimos o estudo em quatro partes, a saber: a primeira, cujo escopo é conhecer, brevemente, a vida, a obra e a crítica sobre A. Azevedo; em seguida, explanar acerca das relações entre trabalho e ociosidade estabelecidas pelos brasileiros de então, e averiguar, partindo do conceito de ―navegação social‖, os esquemas de sobrevivência empreendidos pelas personagens em algumas cenas do corpus. Na terceira seção, procuramos rastrear a utilização do criado ardiloso, na Comédia Nova, passamos pelos Zanni e por Arlequim, cotejamos ainda as figuras do trickster, do pícaro e a do próprio malandro. Por fim, munidos das noções de cômico e de satírico, buscamos interpretar o malandro presente na dramaturgia azevediana. O referencial teórico usado vincula-se a pesquisas de diversas áreas: antropologia social, dramaturgia, sociologia, historiografia teatral, história da vida privada, literatura cômica e/ou satírica, linguística e outras
Our aim is to investigate the figure of the crook within a corpus made up of some of Arthur Azevedo‘s works. Azevedo is ―the greatest Brazilian comic theatrical author‖, according to Guinsburg et al (2006). It is our hypothesis that this playwright bases this historical leading character on a comedy convention that determines the use of characters from lower social classes, from the streetwise orderly of New Comedy up to his later congénere and what we call today the ―azevedian crook‖. This character supposedly has two important purposes: to poke fun at the government and the upper classes for providing the conditions that allowed the dissemination of crooks and also the purpose of esthetically recreating men and women who would soon be forgotten because they belonged to the lower classes. To prove our theory, we divided our study in four parts: the first one is a brief look into the life, the work and the reviews about A. Azevedo; next, we intend to talk about the relation between work and idleness of the Brazilians who lived in that period. We also intend to look into the concept of social navigation and the survival strategies used by some characters from corpus. In the third section we focus on the sleazy servant of New Comedy, on Zanni and Harlequin and conclude the section with a look on trickster, picaro and the crook himself. Finally, we use the concept of comical and satirical to interpret the crook of Azevedo's drama. Our theoretical references comes from researches from several areas: social antropology, dramatics, sociology, theatrical historiography, history of private life, comical/satirical literature, linguistics among others
Our aim is to investigate the figure of the crook within a corpus made up of some of Arthur Azevedo‘s works. Azevedo is ―the greatest Brazilian comic theatrical author‖, according to Guinsburg et al (2006). It is our hypothesis that this playwright bases this historical leading character on a comedy convention that determines the use of characters from lower social classes, from the streetwise orderly of New Comedy up to his later congénere and what we call today the ―azevedian crook‖. This character supposedly has two important purposes: to poke fun at the government and the upper classes for providing the conditions that allowed the dissemination of crooks and also the purpose of esthetically recreating men and women who would soon be forgotten because they belonged to the lower classes. To prove our theory, we divided our study in four parts: the first one is a brief look into the life, the work and the reviews about A. Azevedo; next, we intend to talk about the relation between work and idleness of the Brazilians who lived in that period. We also intend to look into the concept of social navigation and the survival strategies used by some characters from corpus. In the third section we focus on the sleazy servant of New Comedy, on Zanni and Harlequin and conclude the section with a look on trickster, picaro and the crook himself. Finally, we use the concept of comical and satirical to interpret the crook of Azevedo's drama. Our theoretical references comes from researches from several areas: social antropology, dramatics, sociology, theatrical historiography, history of private life, comical/satirical literature, linguistics among others
Descrição
Palavras-chave
Azevedo, Arthur, 1855-1908, Teatro (Literatura), Tragicomedia, Comedia, Tragicomedy
Como citar
BOERO, Simone Aparecida Alves Lima. Um palimpsesto em andamento: formas e reformas de uma personagem azevediana. 2013. 227 f. Tese (doutorado) - Universidade Estadual Paulista Júlio de Mesquita Filho, Faculdade de Ciências e Letras de Araraquara, 2013.