Artistic Vanguards in Brazil, 1917–1967

The 1922 Modern Art Week is considered the initial landmark of artistic vanguards in Brazil. However, before it was held, Anita Malfatti’s 1917 exhibition, which presented expressionism to Brazilians, and the articles of Oswald de Andrade announcing in the local press the poetry of Mário de Andrade and futurism caused significant polemics and opened the way for renovation. In the middle of the 1920s, the contacts of various artists with European vanguards—especially cubism—and the reinterpretation of the national element and popular culture with the incorporation of this repertoire, with an emphasis on cosmopolitism, established and solidified modernism in various artistic areas. In the 1930s, social commitment, the revalorization of the regional, and adhesion to leftwing ideologies changed the focus of artistic production, leading to the reorganization of groups and the emergence of new protagonists: Patrícia Galvão and Flávio de Carvalho, among others. The return to classic forms and new experimentalisms marked the 1940s and 1950s, characterized by the reappearance of the sonnet, with Vinicius de Moraes, Cecília Meirelles, Murilo Mendes, and Jorge de Lima; renovations in language that reached a peak with Guimarães Rosa; photomontages by Jorge de Lima. Concrete art and poetry, notably the National Concrete Art Exhibition (1956) and neo-concretism, returning to the strategy of the manifestos and journals of the 1920s, revived the same polemical reception and bitter rivalries. In the following decade, the revisiting of Oswald de Andrade’s work, especially the idea of anthropophagy, gave a strong impulse to tropicalism, Cinema Novo, and a greater renewal in Brazilian theater, with the staging of O Rei da Vela by the Teatro Oficina group (1967), the culminating point of a fifty-year cycle of artistic vanguards in Brazil.

LIVROS COMO ESTÍMULOS E/OU DISPARADORES: POSSIBILIDADES DA DRAMATURGIA INFANTOJUVENIL BRASILEIRA NA ATUALIDADE

BOOKS LIKE STIMULATIONS AND/OR TRIGGERS: POSSIBILITIES OF BRAZILIAN THEATRICAL TEXT FOR CHILD AND YOUTH IN CURRENT DAY Neste artigo, discorro sobre parte de minha pesquisa de doutorado em Artes, em desenvolvimento na Universidade Estadual Paulista (UNESP). A partir da contextualização do uso de livros infantojuvenis como estímulos e/ou disparadores no Teatro Infantojuvenil brasileiro e de apontamentos acerca das tipologias e das particularidades das obras que vêm sendo utilizadas para este fim, pormenorizo alguns aspectos de dois livros que deram origem aos espetáculos paulistanos elencados em minha investigação como focos de atenção, observação, análise e reflexão. Trata-se, portanto, de uma tentativa de contribuir para o entendimento das diversas possibilidades da dramaturgia infantojuvenil brasileira na atualidade, assim como de suas recorrências e tendências, a partir do uso de livros como elementos capazes de estimular, disparar e direcionar a criação de obras teatrais a partir das linguagens verbal e/ou não-verbal... ou (palavras,) imagens e design. Abstract: In this article, I discuss part of my PhD research in Arts, in development at Universidade Estadual Paulista (UNESP). Based on the contextualization of the use of books for child and youth as stimuli and/or triggers in the Brazilian theater for child and youth and notes on the typologies and particularities of the books that have been used for this purpose, I detail some aspects about two books that gave rise to São Paulo shows in my investigation as foci of attention, observation, analysis and reflection. It is, therefore, an attempt to contribute to the understanding of the various possibilities of Brazilian theatrical text for child and youth, as well as its recurrences and tendencies, from the use of books as elements capable of stimulating, firing and directing the creation of theatrical works based on verbal and / or nonverbal languages ... or (words,) images and design.Keywords: Theater for child and youth. Books for child and youth. Theatrical text for child and youth.

A dedirrósea aurora: feminismo e totalidade histórica em Vai raiar o sol, de Júlia Lopes de Almeida / The Dawn of Pink Fingers: Feminism and Historical Totality in Vai raiar o sol, by Júlia Lopes de Almeida

Resumo: A análise de um texto de Júlia Lopes de Almeida, que permaneceu inédito e desconhecido por muito tempo, procura tornar visível o papel desempenhado pelas mulheres na história da dramaturgia brasileira, buscando contribuir não só para recuperar uma parte das inúmeras vozes emudecidas pela historiografia oficial, mas também para mostrar que, a despeito de a organização social da produção teatral ter excluído sistematicamente através dos séculos a participação das mulheres, há contribuições decisivas de dramaturgas brasileiras na história de nossa formação negativa. Mais do que isso, procuraremos demonstrar que Vai raiar o sol expressa, por meio do deslocamento de diversos procedimentos que marcam o modelo hegemônico do drama burguês, aspectos históricos importantes da situação das mulheres trabalhadoras durante o longo século XX brasileiro.Palavras-chave: Dramaturgia; teatro brasileiro; teoria crítica.Abstract: The analysis of a text written by Júlia Lopes de Almeida, which remained unpublished and unknown for a long time, seeks to represent the role played by women in Brazilian dramaturgy history, contributing not only to recover a part of the countless voices muted by official historiography, but also to show that there are decisive contributions by Brazilian playwrights in the history of our negative formation. Such contributions occurred despite the fact that the social organization of theatrical production has systematically excluded the participation of women over the centuries. Furthermore, we will try to demonstrate that Vai raiar o sol expresses, through the displacement of several procedures that mark the hegemonic model of bourgeois drama, important historical aspects of the situation of working women during the long Brazilian twentieth century.Keywords: Dramaturgy; Brazilian theater; critical theory.

Musical Sources and Archives

This chapter examines the nature and uses of music in early Luso-Brazilian theater from the eighteenth to the early nineteenth century. The first part considers the processes and choices that determined the formation of a theatrical music repertory during the late colonial period. The second part describes the extant musical sources of theatrical music once performed in Portuguese America and now at libraries and archives in Portugal (Paço Ducal de Vila Viçosa, Biblioteca do Palácio da Ajuda) and Brazil (Acervo Curt Lange, Biblioteca da UFRJ, Museu da Música de Mariana), as well as those that have disappeared but can be identified through nonmusical sources. The chapter closes with a discussion ofthe first examples of sung-through Italian operas composed in Brazil.

Quem tem Medo de Itália Fausta? : Irreverência e Iconoclastia na cena teatral brasileira na década de 1980

Este artigo estuda o espetáculo Quem Tem Medo de Itália Fausta?, de Miguel Magno e Ricardo de Almeida, escrito em 1979 e cuja encenação tornou-se histórica para o teatro brasileiro a partir da década de 1980. Diversos críticos saudaram a inventividade e a polêmica do espetáculo e, para alguns, ele foi considerado o precursor do Teatro Besteirol, movimento involuntário que surgiu no teatro brasileiro e que foi criador de diretrizes importantes para a cena teatral brasileira contemporânea. Palavras-chave: Teatro brasileiro, Miguel Magno, Ricardo de Almeida, Quem tem medo de Itália Fausta?, Teatro Besteirol. QUEM TEM MEDO DE ITÁLIA FAUSTA?:Irreverence and controversial in the brazilian theatrical scene of the 80’s Abstract: this article studies the spectacle Quem Tem Medo de Itália Fausta?, by Miguel Magno and Ricardo de Almeida, written in 1979 and whose staging became a historical point in the brazilian theater as from 80’s. Several critics recognize the inventiveness and the controversial of spectacle and, for some, the spectacle was considered the “Besteirol” theater’s precursors, unwitting movement that arises in the brazilian theater and which was author of relevants guidelines to the contemporaneous brazilian theatrical scene. Keywords: brazilian theater, Miguel Magno, Ricardo de Almeida, Quem tem medo de Itália Fausta?, “Besteirol” theater.

Prazer e Religião em Nelson Rodrigues

Este ensaio apresenta uma análise da obra de Nelson Rodrigues sob o enfoque de um tema: Prazer e Religião. Nelson Rodrigues é considerado um dos ícones do teatro brasileiro e fundador do expressionismo como linguagem teatral no Brasil. Entender Nelson Rodrigues e sua obra passa pelo entendimento dos fatores constitutivos de sua vida, formação religiosa, opção pelo expressionismo, seus dramas pessoais e sua criatividade literária. O prazer em Nelson Rodrigues torna-se uma religião na medida em que celebra a vida, e a religião é a própria vida na medida de seus temas recorrentes.Palavras-chave: Prazer, Religião, Nelson Rodrigues, Expressionismo, Vida e Morte.AbstractThis essay presents an analysis of Nelson Rodrigues work under the focus of a theme: Pleasure and Religion. Nelson Rodrigues is considered one of Brazilian theater icons and the founder of expressionism as a theatrical language in Brazil. Understanding Nelson Rodrigues and his work involves the understanding of the constitutive factors of his life, religious formation, expressionism choice, his personal dramas and literary creativity. Nelson Rodrigues's pleasure becomes a religion insofar as it celebrates life, and religion is life itself to the extent of its recurring themes.

Rufino dos Santos, Joel. A história do negro no teatro brasileiro. Novas Direções, 2015.

Joel Rufino dos Santos here provides a much-anticipated contribution to the study of the presence of Afro-Brazilians in the national theater. The author investigates the ways in which Afro-Brazilians are authors, characters, objects, and types—both onstage and off. In addition to offering an overview of the role of race in the history of Afro-Brazilian theater and drama, the book also contains many invaluable images that serve to illustrate as well as add insight to the written pages, filling a much-needed gap in critical studies of Brazilian theater.

Perspectivas sobre o drama moderno no Brasil: revisitando a história

Resultado da Mesa Redonda “Perspectivas sobre o drama moderno no Brasil”, realizada no IX Congresso da ABRACE em 2016, o presente artigo apresenta uma síntese das ideias em torno do drama moderno no Brasil que embasam os projetos docentes de pesquisadores de três instituições diversas (UNICAMP, UFMG e UFSJ), aglutinados em torno do Grupo Estudos em Dramaturgia Letra e Ato. Tal artigo apresenta, portanto, três visadas sobre o drama moderno no Brasil que, sem precisarem constituir uma unidade, dialogam profundamente no contexto das pesquisas com o intuito de revisão teórica e historiográfica sobre o tema. Neste sentido, compartilhando de conceitos, teóricos, metodologias e objetos, as pesquisas, as individualidades investigativas vêm constituindo, num histórico, resultados coletivos de pesquisa sobre o tema que, conjuntamente, os pesquisadores vêm procurando organizar e divulgar em diferentes frentes e meios. ABSTRACT This paper has its origin in the round table “Perspectives about the modern Brazilian drama”, that took place in the IX ABRACE Congress in 2016. It presents a synthesis of some ideas about the modern drama in Brazil that lay their foundation in the research project of professors of three universities (UNICAMP, UFMG e UFSJ), connected by the research group: Group of Studies in Playwriting Letter and Act. This paper presents, therefore, three viewpoints about modern drama in Brazil that, without the purpose of forming a unique view, start a dialogue with the canonic history of Brazilian theater, in order to propose a theoretical review. In this sense, sharing concepts, theories, methodologies and objects, the individual researches have been composing collective results about the same thematic, that the three author are organizing in order to publish. KEYWORDS Teatro brasileiro moderno; dramaturgia moderna; cena moderna.

Tragic Constitution: United States Democracy and Its Discontents

Tragedy is a recurrent subject in recent constitutional law scholarship. But this scholarship theorizes tragedy through a single narrow model, generally applies it to a limited conception of the domain of constitutional law, and ultimately conceives tragedy only as a liability rather than as a positive potentiality of constitutional practice. This essay critiques one theoretical understanding of tragedy and introduces three more, to argue for an open-ended praxis of pluralist tragic engagement with the United States Constitution that is necessary for the sober, mature, demystified, and deliberative functionality of the constitutional system. Each of these four models of tragedy is paired with a domain of constitutional law: Aristotle's model with interpretation, Hegel's with structure and institutions, the radical Brazilian theater director Augusto Boal's with performance and public effects, and Nietzsche's with cultural and educational accessibility.