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Publication
Percursos da cenografia portuguesa: (1870-1974)
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Abstract(s)
Na ausência de uma história da cenografia em Portugal, o presente estudo pretende ser um
contributo para a compreensão da evolução da actividade, ao longo de um período de cerca de
cem anos, compreendido entre a década de 1870 – com a chegada do cenógrafo italiano Luigi
Manini ao Real Theatro de São Carlos, em Lisboa – e o ano de 1974, que assinala o fim do
Estado novo (e do seu aparelho censório) e inaugura um novo capítulo para o teatro português.
É através da exposição de alguns momentos de ruptura com o status quo da actividade
cenográfica que traçamos o percurso da mesma, desde o estabelecimento do realismo
cenográfico à renovação do teatro experimental, passando pela introdução da estética
modernista e acção da censura no teatro de revista, assim como por algumas experiências
tímidas e fugazes de transformação da componente visual do espectáculo. O caminho
percorrido pela cenografia ao longo do século XX não foi nem unívoco, nem linear, e partiu da
bidimensionalidade decorativa do telão pintado e alcançou, com o teatro experimental, a
tridimensionalidade criadora de uma síntese dramatúrgica visual.
In the absence of a history of Portuguese scenography, this study aims to be a contribution towards understanding the activity’s evolution. It runs through a time span of almost a century, between the 1870’s – with the arrival of an Italian scenographer, Luigi Manini, at Lisbon’s Real Theatro de São Carlos – and 1974, a year that marks the beginning of a new chapter for Portuguese theatre with the end of Estado Novo and its censorship. It is through the unearthing of several moments of disruption of scenography’s status quo that we trace its path, from the establishment of stage realism to the renovation brought forth by experimental theatre. It also addresses the introduction of modernist aesthetics and censorship’s repercussion in Revue theatre, as well as some shy and fleeting efforts that aimed to transform the spectacle’s visual domain. The path taken by Portuguese scenography throughout the 20th century is neither univocal nor linear and starts with a decorative two-dimensional painted backdrop towards a three-dimensionality that creates a dramaturgical visual synthesis.
In the absence of a history of Portuguese scenography, this study aims to be a contribution towards understanding the activity’s evolution. It runs through a time span of almost a century, between the 1870’s – with the arrival of an Italian scenographer, Luigi Manini, at Lisbon’s Real Theatro de São Carlos – and 1974, a year that marks the beginning of a new chapter for Portuguese theatre with the end of Estado Novo and its censorship. It is through the unearthing of several moments of disruption of scenography’s status quo that we trace its path, from the establishment of stage realism to the renovation brought forth by experimental theatre. It also addresses the introduction of modernist aesthetics and censorship’s repercussion in Revue theatre, as well as some shy and fleeting efforts that aimed to transform the spectacle’s visual domain. The path taken by Portuguese scenography throughout the 20th century is neither univocal nor linear and starts with a decorative two-dimensional painted backdrop towards a three-dimensionality that creates a dramaturgical visual synthesis.
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Keywords
Cenografia - Portugal - História - séc.19-20 Teatro - Estética - Portugal - séc.19-20 Teatro experimental - Portugal Teatro de revista - Censura - Portugal Modernismo (Estética) Teses de doutoramento - 2022