Na berlinda com o drama démodé: Um estudo sobre o drama, o realismo e o naturalismo no teatro brasileiro do século XIX
Data
2022-07-07
Autores
Carlos, Ana Paula dos Santos [UNIFESP]
Orientadores
Ferreira, Carolin Overhoff [UNIFESP]
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
RESUMO
A presente dissertação busca fazer uma reflexão crítica acerca do debate histórico
e estético sobre o que se cogitou chamar de drama nacional no século XIX, tendo
em vista o particular contexto brasileiro de país colonizado. O principal objetivo da
dissertação é a análise de obras da dramaturgia brasileira sob este ponto de vista:
Antônio José ou O poeta e a Inquisição (1836) de Gonçalves de Magalhães; O Juiz
de Paz da Roça (1837) de Martins Pena; Leonor de Mendonça (1846) de Gonçalves
Dias; Sangue Limpo (1861) de Paulo Eiró; O Demônio Familiar (1857) de José
Alencar, Cancros Sociais (1865) de Maria Ribeiro, Gonzaga ou A Revolução de
Minas (1866) de Castro Alves, e O Caboclo (1886) de Aluísio Azevedo. Tomamos
como base a dimensão das lutas de classe em especial entre “senhores” e
escravizados, à medida que nosso objeto é o drama e, como tal, o gênero próprio do
conflito social. De acordo, a nossa base teórica é a concepção em que o drama é a
expressão dos antagonismos sociais e das ações humanas (LUKÁCS, 2011).
Buscamos apreender, portanto, se houve, de fato, uma tradição dramática brasileira
sob a influência da orientação estética romântica, realista e naturalista. O nosso
ponto de partida foi a interrogação se isso ocasionasse um esgarçamento da forma
dramática, ou seja, se no Brasil é possível falar em um teatro pós-dramático. Pois
compreendendo a formação do drama nacional no Brasil imperial e sua
particularidade faria possível avançar futuramente para um estudo nesse sentido.
ABSTRACT The present dissertation seeks to offer a critical reflection on the historical and aesthetic debate on what is considered the national drama of the 19th century, in view of the particular Brazilian context as a colonized country. The main objective of the dissertation consists in the analysis of plays by Brazilian dramaturgs from this point of view: Antônio José or The poet and the Inquisition (1836) by Gonçalves de Magalhães; The Justice the Peace in the Countryside (1837) by Martins Pena; Leonor de Mendonça (1846) by Gonçalves Dias; Clean Blood (1861) by Paulo Eiró; The Family Demon (1857) by José Alencar, Social Cancers (1865) by Maria Ribeiro, Gonzaga or The Revolution in the Mines district (1866) by Castro Alves, and The Caboclo (1886) by Aluísio Azevedo. Our starting point is the class struggles, especially between “masters” and enslaved, since the drama is a genre of social conflict. Accordingly, our theoretical basis is the conception that drama is the expression of social antagonisms and human action (LUKÁCS, 2011). I seek to understand, therefore, if there was, in fact, a Brazilian dramatic tradition under the influence of romantic, realistic and naturalist aesthetics that were imported from Europe. I set out from the question if this would cause a fraying of the dramatic form, in the sense that it is possible to talk in Brazil about a post-dramatic theater. Because understanding the formation of national drama in imperial Brazil and its particularity will make it possible to advance in the future with a study in this direction.
ABSTRACT The present dissertation seeks to offer a critical reflection on the historical and aesthetic debate on what is considered the national drama of the 19th century, in view of the particular Brazilian context as a colonized country. The main objective of the dissertation consists in the analysis of plays by Brazilian dramaturgs from this point of view: Antônio José or The poet and the Inquisition (1836) by Gonçalves de Magalhães; The Justice the Peace in the Countryside (1837) by Martins Pena; Leonor de Mendonça (1846) by Gonçalves Dias; Clean Blood (1861) by Paulo Eiró; The Family Demon (1857) by José Alencar, Social Cancers (1865) by Maria Ribeiro, Gonzaga or The Revolution in the Mines district (1866) by Castro Alves, and The Caboclo (1886) by Aluísio Azevedo. Our starting point is the class struggles, especially between “masters” and enslaved, since the drama is a genre of social conflict. Accordingly, our theoretical basis is the conception that drama is the expression of social antagonisms and human action (LUKÁCS, 2011). I seek to understand, therefore, if there was, in fact, a Brazilian dramatic tradition under the influence of romantic, realistic and naturalist aesthetics that were imported from Europe. I set out from the question if this would cause a fraying of the dramatic form, in the sense that it is possible to talk in Brazil about a post-dramatic theater. Because understanding the formation of national drama in imperial Brazil and its particularity will make it possible to advance in the future with a study in this direction.