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A grande guerra e o espectáculo : O bailado do encantamento e A princesa dos sapatos de ferro (1918)
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O Bailado do Encantamento e A Princesa dos Sapatos de Ferro são os títulos de dois bailados apresentados em três récitas distintas a 10, 19 e 21 de Abril de 1918, no Teatro de São Carlos, em Lisboa. Com o patrocínio da aristocracia portuguesa, em particular na pessoa de Helena de Vasconcelos e Sousa, e a participação de jovens artistas modernos como Almada Negreiros, Ruy Coelho, José Pacheko ou Raul Lino, estas récitas tiveram por objectivo a angariação de fundos para as Madrinhas de Guerra, grupo dirigido por Sophia de Carvalho Burnay de Mello Breyner e ligado aos meios mais conservadores da sociedade.
Tendo como ponto de partida o seu carácter de beneficência, procuraremos enquadrar esta experiência em diversas perspectivas: através do contexto de organização de eventos recreativos durante a participação de Portugal na Grande Guerra (1916-1918), será interessante perceber quem eram os seus promotores, qual o seu impacto social, e como é que a sociedade portuguesa acolhia este tipo de actividades; mas teremos igualmente em conta o estado da arte, em particular da dança e dos movimentos estéticos existentes no país à época, estabelecendo assim pontes entre a produção artística nacional e internacional que auxiliem na contextualização dos dois bailados.
A presente dissertação pretende assim trazer à discussão novos aspectos que possam concorrer para uma análise alargada de um dos episódios mais curiosos da história da dança e da arte portuguesa do início do século XX.
The Bailado do Encantamento and A Princesa dos Sapatos de Ferro are the names of the two ballets which were performed on the 10th, 19th and 21th April 1918, at the São Carlos Theatre in Lisbon, Portugal. With the support of a group of Portuguese aristocrats, of which Helena de Vasconcelos e Sousa was the most prominent name, and with the collaboration of many young modern artists such as Almada Negreiros, Ruy Coelho, José Pacheko and Raul Lino, the goal of these performances was the funding of the Madrinhas de Guerra (‘war godmothers’) group, managed by Sophia de Carvalho Burnay de Mello Breyner and connected to the most conservative circles. With its charitable intentions as a starting point, we will try to uncover the context of this experience through many perspectives: by understanding who were the promoters of the many recreational events which occurred during the time of the participation of Portugal in the Great War (1916-1918); by looking at their social impact; and also by how the Portuguese society responded to such activities. We will also consider the artistic circumstances, paying particular attention to the international cultural and aesthetic movements and the ones active in Portugal at the time, so that we can make a thorough scrutiny of the two ballets. This research aims to bring new aspects to discussion which will hopefully help build and expand the analysis of one of the most curious episodes of the history of Portuguese art and dance of the early 20th Century.
The Bailado do Encantamento and A Princesa dos Sapatos de Ferro are the names of the two ballets which were performed on the 10th, 19th and 21th April 1918, at the São Carlos Theatre in Lisbon, Portugal. With the support of a group of Portuguese aristocrats, of which Helena de Vasconcelos e Sousa was the most prominent name, and with the collaboration of many young modern artists such as Almada Negreiros, Ruy Coelho, José Pacheko and Raul Lino, the goal of these performances was the funding of the Madrinhas de Guerra (‘war godmothers’) group, managed by Sophia de Carvalho Burnay de Mello Breyner and connected to the most conservative circles. With its charitable intentions as a starting point, we will try to uncover the context of this experience through many perspectives: by understanding who were the promoters of the many recreational events which occurred during the time of the participation of Portugal in the Great War (1916-1918); by looking at their social impact; and also by how the Portuguese society responded to such activities. We will also consider the artistic circumstances, paying particular attention to the international cultural and aesthetic movements and the ones active in Portugal at the time, so that we can make a thorough scrutiny of the two ballets. This research aims to bring new aspects to discussion which will hopefully help build and expand the analysis of one of the most curious episodes of the history of Portuguese art and dance of the early 20th Century.
Descrição
Palavras-chave
Bailado do encantamento (Espectáculo) A princesa dos sapatos de ferro (Espectáculo) Dança moderna - Aspectos sociais - Portugal Guerra mundial (1914-1918) - Teatro e guerra Guerra mundial (1914-1918) - Mulheres - Portugal Guerra mundial (1914-1918) - Participação dos civis - Portugal Guerra mundial (1914-1918) - Aspectos sociais - Portugal Festas de beneficência - Portugal - 1916-1918 Teses de mestrado - 2019