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A censura teatral durante o Marcelismo
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Este estudo pretende analisar a Censura a textos teatrais e a processos de criação teatral, durante o Governo de Marcello Caetano, com incidência na chamada Primavera Marcelista (1968-1970).
As determinações legais para a Censura surgem durante a Ditadura Militar, em 1927. António de Oliveira Salazar, quando ascende ao poder em 1933, mantém e aprimora todos os instrumentos de controlo da Censura, ao longo do Estado Novo.
A doença e consequente incapacidade de António Salazar governar o país motiva a sua substituição por Marcello Caetano em 1968. Esta alteração de governante, num regime que durava há 35 anos, provocou uma vaga de esperança de que a política ditatorial imposta aliviasse. Na cultura em geral e, em particular, no Teatro, a expectativa de alguns dos seus intervenientes apontava para uma maior abertura para a introdução de autores e temas, até então proibidos.
O trabalho está dividido em duas partes. Na primeira parte identifica-se as alterações legislativas referentes à Censura no Teatro durante o Estado Novo, descreve-se e compara-se os procedimentos e mecanismos usados pela Comissão de Censura entre o Governo Salazarista e o Governo Marcelista.
Na segunda parte toma-se como objeto paradigmático a análise da Censura aplicada às propostas de espetáculos e peças de Luzia Maria Martins, dramaturga e encenadora, codirectora de uma companhia de teatro Lisboeta, o Teatro Estúdio de Lisboa, durante o Marcelismo.
This study intends to analyze the Censorship of theatrical texts and theatrical creation processes, during the Government of Marcello Caetano, with incidence in the so-called Marcelista Spring. The legal determinations for Censorship appear during the Military Dictatorship, in 1927. António de Oliveira Salazar, when he came to power in 1933, maintained and improved all the instruments of control of Censorship, throughout the Estado Novo. António Salazar's illness and consequent inability to govern the country motivated his replacement by Marcello Caetano. This change of ruler, in a regime that had lasted for 35 years, provoked a wave of hope that the imposed dictatorial policy would alleviate. In culture in general and, in particular, in Theater, the expectations of some of its participants pointed to a greater openness to the introduction of authors and themes, which until then had been prohibited. The work is divided into two parts. The first part identifies the legislative changes related to Theater Censorship during the Estado Novo, describes and compares the procedures and mechanisms used by the Censorship Commission between the Salazarista Government and the Marcelista Government. The second part takes as a paradigmatic object the analysis of Censorship applied to proposals for shows and plays by Luzia Maria Martins, playwright and director, co-director of a Lisbon theater company, Teatro Estúdio de Lisboa, during Marcelismo.
This study intends to analyze the Censorship of theatrical texts and theatrical creation processes, during the Government of Marcello Caetano, with incidence in the so-called Marcelista Spring. The legal determinations for Censorship appear during the Military Dictatorship, in 1927. António de Oliveira Salazar, when he came to power in 1933, maintained and improved all the instruments of control of Censorship, throughout the Estado Novo. António Salazar's illness and consequent inability to govern the country motivated his replacement by Marcello Caetano. This change of ruler, in a regime that had lasted for 35 years, provoked a wave of hope that the imposed dictatorial policy would alleviate. In culture in general and, in particular, in Theater, the expectations of some of its participants pointed to a greater openness to the introduction of authors and themes, which until then had been prohibited. The work is divided into two parts. The first part identifies the legislative changes related to Theater Censorship during the Estado Novo, describes and compares the procedures and mechanisms used by the Censorship Commission between the Salazarista Government and the Marcelista Government. The second part takes as a paradigmatic object the analysis of Censorship applied to proposals for shows and plays by Luzia Maria Martins, playwright and director, co-director of a Lisbon theater company, Teatro Estúdio de Lisboa, during Marcelismo.
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Martins , Luzia Maria, 1927-2000 - Censura Teatro Estúdio de Lisboa. - (Portugal) - História Teatro - Censura - Portugal - 1968-1970 Censura - Portugal - séc.20 Teatro - Portugal - História - séc.20 Teses de mestrado - 2021