Arte sem fronteiras. Londres, Berlim, São Paulo e Rio de Janeiro: olhares estéticos e capitalistas sobre as células do poder lícito e ilícito (séculos XVIII e XX)
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Data
2004
Autores
Rocha, Denise [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
O objetivo desse estudo é fazer um rastreio da história do gosto do leitor-comum, do leitor-autor e do leitor-adaptador através dos séculos, e apresentar a possibilidade de diálogo estético e histórico internacional por meio da análise da natureza da dramaturgia e suas relações com as outras artes -ópera, música e dança-, e com aspectos da encenação e da carpintaria teatral, reflexões baseadas na teoria da estética da recepção, conforme Thomas Bleicher, Hannelore Link, Alois Wierlacher, Dietrich Krusche e Reinold Werner. Para isso, será feito uma análise e pesquisa da viagem internacional através dos continentes de The Beggar's Opera, de John Gay (1728), uma moderna saga de anti-heróis, que ultrapassou a barreira da temporalidade e dos idiomas, e que reflete um processo de odisséia satírica, iniciado na Londres georgiana do início do século XVIII, com chegada triunfal até o século XX, com recepções produtivas: Die Dreigroschenoper [A Ópera de Três Vinténs], de Bertolt Brecht (1928), na Berlim weimariana da década de 20; A Ronda dos Malandros, de Carla Civelli e Maurício Barroso, na São Paulo e seu mecenato industrial na passagem dos anos 40 aos 50; e Ópera do Malandro, de Chico Buarque (1978), no Rio de Janeiro militar dos anos 70, obras com nuances de nacionalismo, cosmopolitismo e universalismo, apoiadas nas idéias da incompreensível exploração humana do ciclo predatório (homo homini lupus) e da desumanizada exploração capitalista.
This dissertation was carried out to investigate the history of bookishness of the common reader, the author-reader, and the adapter-reader troughtout centuries, and to present a possibility of international esthetic and historical dialog by analyzing the nature of dramaturgy and its relationship to other arts - opera, music and dance - and to aspects of stanging and to aspects to stanging and theater carpentry, reflections based on the theory of esthetic reception according to Thomas Bleicher, Hannelore Link, Alois Wierlacher, Dietrich Krusche e Reinold Werner. With that purpose in mind, one will carry out an analysis and research of the international travel around the continents of The Beggar's Opera, by John Gay (1728) a modren saga of antagonists, which outreached the limits of temporality and foreign languages, and which reflects a process of satiric odyssey, started in Georgian London at the beginning of the 18 th century, triumphally reaching the 20 th century, with productive receptions: Die Dreigroschenoper [A Ópera de Três Vinténs], by Bertold Brecht (1928), in Weimar Berlin in the 1920 s, A Ronda dos Malandros, by Carla Civelli and Maurício Barroso, in São Paulo and its industrial patronage along the 1940s and 1950s, and Ópera do Malandro, by Chico Buarque (1978), in Rio de Janeiro military uproar along the 1970s, works with hues of nationalism, cosmopolitanism and universalism, supported by ideas of the incomprehensible human exploitation of the predatory cycle (homo homini lupus) and the ruthless capitalistic exploitation.
This dissertation was carried out to investigate the history of bookishness of the common reader, the author-reader, and the adapter-reader troughtout centuries, and to present a possibility of international esthetic and historical dialog by analyzing the nature of dramaturgy and its relationship to other arts - opera, music and dance - and to aspects of stanging and to aspects to stanging and theater carpentry, reflections based on the theory of esthetic reception according to Thomas Bleicher, Hannelore Link, Alois Wierlacher, Dietrich Krusche e Reinold Werner. With that purpose in mind, one will carry out an analysis and research of the international travel around the continents of The Beggar's Opera, by John Gay (1728) a modren saga of antagonists, which outreached the limits of temporality and foreign languages, and which reflects a process of satiric odyssey, started in Georgian London at the beginning of the 18 th century, triumphally reaching the 20 th century, with productive receptions: Die Dreigroschenoper [A Ópera de Três Vinténs], by Bertold Brecht (1928), in Weimar Berlin in the 1920 s, A Ronda dos Malandros, by Carla Civelli and Maurício Barroso, in São Paulo and its industrial patronage along the 1940s and 1950s, and Ópera do Malandro, by Chico Buarque (1978), in Rio de Janeiro military uproar along the 1970s, works with hues of nationalism, cosmopolitanism and universalism, supported by ideas of the incomprehensible human exploitation of the predatory cycle (homo homini lupus) and the ruthless capitalistic exploitation.
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Palavras-chave
Comedia, Capitalismo, Literatura comparada, Teatro épico, Estética - Literatura, Comparative literature, Epic theater, Comedy, Literary reception, Capitalism
Como citar
ROCHA, Denise. Arte sem fronteiras. Londres, Berlim, São Paulo e Rio de Janeiro: olhares estéticos e capitalistas sobre as células do poder lícito e ilícito (séculos XVIII e XX). 2004. 2 v. Tese (doutorado) - Universidade Estadual Paulista, Faculdade de Ciências e Letras de Assis, 2004.