O teatro como arena de luta de gênero: estudo comparado entre Casa de boneca, de Ibsen e A dança final, de Plínio Marcos
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Data
2019-11-29
Autores
Silva, Ivanildo José da
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Universidade Estadual Paulista (Unesp)
Resumo
Esta tese tem como corpus de análise, dentro de uma perspectiva teórico-comparatista, as peças de teatro Casa de boneca (1879), de Ibsen e A dança final (1993), de Plínio Marcos. Em linhas gerais, foi proposto um estudo e interpretação das peças a fim de estabelecer relações entre as marcas discursivas e jogos de poder que permeiam as personagens femininas e masculinas. O objetivo da pesquisa foi realizar, por meio de uma abordagem comparatista, uma investigação para elucidar a aproximação entre os autores, as peças de teatro e as personagens, com a finalidade de examinar como a temática do feminino está configurada no campo da dramaturgia. Ao ancorar a pesquisa nos textos teatrais como possibilidade de análise, verificou-se a relevância no estudo da dramaturgia ibseniana e pliniana por trazerem arraigadas no interstício textual uma autorização discursiva que permite refletir o teatro como lugar possível para discutir questões de gênero, principalmente na viabilidade de (re) pensar a condição da mulher no âmbito familiar e social no sentido de equiparar diferenças. Importa ressaltar que, como resultado, a comparação foi salutar por observar o momento histórico de produção das peças teatrais, a linguagem empregada pelos autores, a forma literária específica, as ideologias encravadas nas didascálias, o discurso das personagens, dentre outros elementos que contribuem para o processo de análise estrutural de uma peça de teatro, uma vez que a arte (como performance do imaginário) em diálogo com a realidade, proporciona novos olhares para a construção de sentidos e mudanças significativas no modo de pensar de uma sociedade.
This thesis has as its corpus of analysis, from a theoretical-comparative perspective, the plays Casa de boneca (1879), by Ibsen and Plínio Marcos' A dança final (1993). In general terms, it was proposed a study and interpretation of the plays to establish relations between the discursive marks and power games that permeate the female and male characters. The research aimed to conduct, through a comparative approach, an investigation to elucidate the approximation between the authors, the plays and the characters, for the purpose to examine how the feminine theme is configured in the field of dramaturgy. By anchoring the research in theatrical texts as a possibility of analysis, it was verified the relevance in the study of the Ibsenian and Plinian dramaturgy for bringing rooted in the textual interstice a discursive authorization that allows to reflect the theater as a possible place to discuss gender issues, especially in the viability to (re) think about the condition of women in the family and social context in in terms of equating differences. It is important to emphasize that, as a result, the comparison was salutary for observing the historical moment of production of the plays, the language employed by the authors, the specific literary form, the ideologies embedded in the rubrics, the discourse of the characters, amongst other elements that contribute to the process of structural analysis of a play, given that art (as performance of the imaginary) in dialogue with reality, offers new perspectives for the construction of meanings and significant changes in the way of thinking of a society.
This thesis has as its corpus of analysis, from a theoretical-comparative perspective, the plays Casa de boneca (1879), by Ibsen and Plínio Marcos' A dança final (1993). In general terms, it was proposed a study and interpretation of the plays to establish relations between the discursive marks and power games that permeate the female and male characters. The research aimed to conduct, through a comparative approach, an investigation to elucidate the approximation between the authors, the plays and the characters, for the purpose to examine how the feminine theme is configured in the field of dramaturgy. By anchoring the research in theatrical texts as a possibility of analysis, it was verified the relevance in the study of the Ibsenian and Plinian dramaturgy for bringing rooted in the textual interstice a discursive authorization that allows to reflect the theater as a possible place to discuss gender issues, especially in the viability to (re) think about the condition of women in the family and social context in in terms of equating differences. It is important to emphasize that, as a result, the comparison was salutary for observing the historical moment of production of the plays, the language employed by the authors, the specific literary form, the ideologies embedded in the rubrics, the discourse of the characters, amongst other elements that contribute to the process of structural analysis of a play, given that art (as performance of the imaginary) in dialogue with reality, offers new perspectives for the construction of meanings and significant changes in the way of thinking of a society.
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Dramaturgia, Gênero, Literatura comparada, Casa de boneca, A dança final, Dramaturgy, Gender, Comparative literature