Companhia negra de revista (1926-1927): resistência muito além dos palcos
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Data
2019-03-29
Autores
Jeremin, Danusa de Oliveira
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho de pesquisa de mestrado tem enquanto intuito demonstrar que a atuação da Companhia Negra de Revista (1926-1927), mesmo que não organizada enquanto movimento político, é também um fenômeno de resistência à realidade negra do período. E que produziu agência aos negros brasileiros nos diversos setores da sociedade, ao fazer parte de um movimento de levante global que colocava o negro em destaque, a atuação da Companhia Negra de Revista produziu agência aos negros brasileiros nos diversos setores da sociedade e demonstrou uma outra via à história “oficial”. Algo que, de fato, evidenciou que o negro nunca foi passivo a sua realidade, como diziam alguns cânones das ciências sociais. Assim, iremos repensar os locais ocupados pelos negros em um momento que nos proporcionará englobar o período de passagem da monarquia para a república com o pós-abolição (1888) até a Primeira República (1889-1930). Mais especificamente, analisando como se empreendeu o desenvolvimento do teatro negro nesse período, partindo do pressuposto da existência de lugares simbolicamente construídos. Estes “lugares simbólicos” foram sustentados a partir da posição de que os indivíduos mantinham na sociedade, apoiados por conceitos racialistas que imperaram no Brasil durante 350 anos de escravização e após. Com isso, tem-se o problema da “branquitude”, aquela que através da crença de uma supremacia branca e do uso da invisibilização, é alcançado um meio para subjugar o negro. Partimos da hipótese que, de fato, os movimentos negros ao redor do mundo e as manifestações negras no Brasil acontecem de forma integrada. Para tanto, iremos abordar três movimentos negros – renascimento negro, pan-africanismo e movimento de negritude - insurgentes nessa primeira metade do século XX que tiveram grandes efeitos na produção artística e literária negra.
The present research intents to demonstrate that the performance of the Companhia Negra de Revista (1926-1927), a black theater group of the vaudeville genre, despite it was not openly organized as political movement, was a phenomenon of resistance to the black reality of the period. And that produced agency to the brazilian blacks in the diverse sectors of the society. As part of a global black uprising movement that put the black in prominence, it showed another way the "official" history. That in fact it showed that black people was never passive to its reality, as some canons of the social sciences used to inform. Thus, we will rethink the places occupied by black people at a time that will allow us to encompass the period from the monarchy to the republic with the post-abolition (1888) until the First Republic (1889-1930). More specifically analyzing how the development of black theater in this period was undertaken. Starting from the presupposition of the existence of places symbolically constructed. These "symbolic places" were sustained from the position that individuals held in society, supported by racialist concepts that prevailed in Brazil during 350 years of enslavement and after. Hence, the problem of "whiteness, in which the belief of a white supremacy that invisibilizes, is reached a means to subjugate black people. So we start from the hypothesis that in fact the black movements around the world and the black manifestations in Brazil happen in an integrated way. To do so, we will address three insurgent black movements – harlem reinassance, pan-africanism and negritude movement - in the first half of the twentieth century that had great effects on black literary and artistic production
The present research intents to demonstrate that the performance of the Companhia Negra de Revista (1926-1927), a black theater group of the vaudeville genre, despite it was not openly organized as political movement, was a phenomenon of resistance to the black reality of the period. And that produced agency to the brazilian blacks in the diverse sectors of the society. As part of a global black uprising movement that put the black in prominence, it showed another way the "official" history. That in fact it showed that black people was never passive to its reality, as some canons of the social sciences used to inform. Thus, we will rethink the places occupied by black people at a time that will allow us to encompass the period from the monarchy to the republic with the post-abolition (1888) until the First Republic (1889-1930). More specifically analyzing how the development of black theater in this period was undertaken. Starting from the presupposition of the existence of places symbolically constructed. These "symbolic places" were sustained from the position that individuals held in society, supported by racialist concepts that prevailed in Brazil during 350 years of enslavement and after. Hence, the problem of "whiteness, in which the belief of a white supremacy that invisibilizes, is reached a means to subjugate black people. So we start from the hypothesis that in fact the black movements around the world and the black manifestations in Brazil happen in an integrated way. To do so, we will address three insurgent black movements – harlem reinassance, pan-africanism and negritude movement - in the first half of the twentieth century that had great effects on black literary and artistic production
Descrição
Palavras-chave
Relações étnico-raciais, Teatro Negro, Teatro de Revista, Representatividade, Negritude, Ethnic-racial relations, Black Theater, Vaudeville, Representativeness, Negritude