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Publication
Play or Walk Away: o desejo sexual na dramaturgia britânica contemporânea
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Advisor(s)
Abstract(s)
Ao longo dos séculos, o desejo sexual tem sido objeto de inquietação na arte e no
pensamento em geral. Reiteradamente reprimido pela religião e por alguns costumes
sociais, expandido e explorado pelas suas representações artísticas, o desejo sexual temse
intrometido nas narrativas que nos contam a história. Na contemporaneidade, também
na dramaturgia britânica tem sido um lugar recorrente. Nesta investigação foi selecionado
um corpus de análise dramático composto por peças escritas entre 2000 e 2014: The Sugar
Syndrome (2003), de Lucy Prebble; Sugar Mummies (2006), de Tanika Gupta; The Pride
(2008), de Alexi Kaye Campbell; Scarborough (2008), de Fiona Evans; Cock (2009), de
Mike Bartlett; Spur of the Moment (2010), de Anya Reiss; Wanderlust (2010), de Nick
Payne; The Village Bike (2011), de Penelope Skinner; The Mistress Contract (2014), de
Abi Morgan; e The Pass (2014), de John Donnelly.
Os autores e autoras selecionados fazem parte de uma geração que é herdeira do
teatro in-yer-face – em que o sexo e a(s) sexualidade(s) estiveram em lugar central nas
suas temáticas –-, e, em comum, encontramos, pelo menos, dois denominadores
fundamentais: 1) o facto de, aparentemente, traçarem um retrato da fragilidade dos afetos
na contemporaneidade; 2) as suas peças terem estreado no mítico Royal Court Theatre
(RCT), em Londres. Durante muitos anos, o RCT foi considerado o epicentro da new
writing dando a conhecer novas vozes da dramaturgia contemporânea e sendo centro e
palco de muitas polémicas relacionadas com a representação do sexo e da violência.
Nesta análise, abordamos o modo como o desejo sexual pode ser observado
através de múltiplas variáveis como o desejo nostálgico, a pornografia, a intimidade, a
culpa, o pudor, o tabu, a monogamia e a homossexualidade. A representação do desejo
sexual, nestas peças e nesta investigação, é também entendida como uma ferramenta
dramatúrgica para explorar o modo como os autores constroem uma narrativa sobre os
relacionamentos, permitindo assim uma perspetiva sobre os mecanismos que, embora não
se manifestem como tal, podem ser entendidos como repressores.
As centuries have gone by, sexual desire has been an object of restlessness in art and in thought in general. Despite being repeatedly repressed by religion and some social behaviours, expanded and explored by its artistic representations, sexual desire has been intruding in historical narratives. In modern times, it also recurrently occupies a place in British dramaturgy. In this investigation, it is selected a dramatic corpus of analysis, composed by plays written between 2004 and 2014: Lucy Prebble’s The Sugar Syndrome (2003); Tanika Gupta’s Sugar Mummies (2006); Alexi Kaye Campbell’s The Pride (2008); Fiona Evans’s Scarborough (2008); Mike Bartlett’s Cock (2009); Anya Reiss’s Spur of the Moment (2010); Nick Payne’s Wanderlust (2010); Penelope Skinner’s The Village Bike (2011); Abi Morgan’s The Mistress Contract (2014); and John Donnelly’s The Pass (2014). These selected authors are part of a generation that is the heir to in-yer-face theatre – where sex and sexuality(ies) were central– and, in common, we find at least two main common denominators: 1) the fact that, apparently, they draw a portrait of the fragility of affections in contemporaneity; 2) the plays have premiered in the mythical Royal Court Theatre (RCT), in London. For many years, the RCT was considered the epicentre of the new writing, providing a stage for the new voices in contemporary dramaturgy and being the centre and stage of many controversies related with the portrayal of sex and violence. In this analysis, we will approach the way how sexual desire can be observed through multiple variables, like nostalgic desire, pornography, intimacy, guilt, shame, taboo, monogamy and homosexuality. The representation of sexual desire, in these plays and this in this research, is also understood as a dramaturgical tool to explore the way the authors build a narrative about relationships, therefore allowing a perspective over the mechanisms that, although they do not manifest themselves as such, can be understood as repressive.
As centuries have gone by, sexual desire has been an object of restlessness in art and in thought in general. Despite being repeatedly repressed by religion and some social behaviours, expanded and explored by its artistic representations, sexual desire has been intruding in historical narratives. In modern times, it also recurrently occupies a place in British dramaturgy. In this investigation, it is selected a dramatic corpus of analysis, composed by plays written between 2004 and 2014: Lucy Prebble’s The Sugar Syndrome (2003); Tanika Gupta’s Sugar Mummies (2006); Alexi Kaye Campbell’s The Pride (2008); Fiona Evans’s Scarborough (2008); Mike Bartlett’s Cock (2009); Anya Reiss’s Spur of the Moment (2010); Nick Payne’s Wanderlust (2010); Penelope Skinner’s The Village Bike (2011); Abi Morgan’s The Mistress Contract (2014); and John Donnelly’s The Pass (2014). These selected authors are part of a generation that is the heir to in-yer-face theatre – where sex and sexuality(ies) were central– and, in common, we find at least two main common denominators: 1) the fact that, apparently, they draw a portrait of the fragility of affections in contemporaneity; 2) the plays have premiered in the mythical Royal Court Theatre (RCT), in London. For many years, the RCT was considered the epicentre of the new writing, providing a stage for the new voices in contemporary dramaturgy and being the centre and stage of many controversies related with the portrayal of sex and violence. In this analysis, we will approach the way how sexual desire can be observed through multiple variables, like nostalgic desire, pornography, intimacy, guilt, shame, taboo, monogamy and homosexuality. The representation of sexual desire, in these plays and this in this research, is also understood as a dramaturgical tool to explore the way the authors build a narrative about relationships, therefore allowing a perspective over the mechanisms that, although they do not manifest themselves as such, can be understood as repressive.
Description
Keywords
Royal Court Theatre Desejo - Na literatura Sexualidade - Na literatura Sexualidade - No teatro Teatro inglês - séc.20-21 - Temas, motivos Teatro - Grã-Bretanha - séc.20-21 - Temas, motivos Teatro e política - Grã-Bretanha Teatro e sociedade - Grã-Bretanha New writing Teses de doutoramento - 2022