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O gosto público que sustenta o teatro : subsídios para o estudo da vulgarização do pensamento oitocentista em Portugal
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Idealizou Almeida Garrett, que o gosto público formaria hábitos e, com eles, a necessidade de teatro, como meio de civilização. O plano cultural, que equacionou, englobou a formação competente de dramaturgos e de actores, e a ilustração crítica do público. Essa preocupação educativa serviu de fundamento interrogativo a esta tese sobre o pensamento teatral oitocentista na construção de um “mercado factício”. De que forma se relacionaram os diferentes sectores da criação dramático-teatral? Com o advento da burguesia, o teatro, seu género de eleição, constituiu-se como um veículo demopédico ideal de ilustração e entretenimento. Em torno do teatro público, cujo negócio se ampliou ao longo de Oitocentos, a esfera semiprivada dos teatros particulares criou relações interativas, que dinamizaram a qualidade da produção dramática, da realização do espectáculo, com o objectivo de desenvolver o espírito crítico da receção estética e a ilustração popular. Tal como a imprensa, o teatro funcionou como veículo divulgador de ideias políticas, sociais e estéticas, na recriação de quotidianos e na ilustração de comportamentos adequados que pretenderam formar tanto a consciência individual, como a coletiva. Arte Dramática e Arte Teatral evoluíram a par, no apuramento dos modelos literário, estético e crítico. Enquanto o público era conduzido na leitura da cena como um manual de civilidade, os produtores de conteúdos dramáticos-teatrais foram apurando o seu sentido crítico, no palco e na redação de obras de divulgação técnico-artística, destinadas a melhorar o entendimento estético do público que acorria aos teatros públicos e particulares, e dos atores amadores, no florescente campo do associativismo, de academias, clubes, e sociedades dramáticas.
Almeida Garrett idealised that general good taste would structure consumption habits, which would make-up the need of theatre as a means of civilization. The cultural plan he outlined comprised both the accurate training of playwrights and actors, as well as the tutoring of audiences. This enlightening concern served as the inquisitive foundation of this thesis on the nineteenth-century theatrical yearning for a "factitious market". In what way did the different sectors of drama and theatrical creation and propagation interact with one another? With the advent of the bourgeoisie, theatre became its favourite genre, and constituted a supreme medium for democratic education and jubilant entertainment. Outside the theatre industry, whose business expanded throughout the 19th century, the private theatre sphere created interactive relationship which streamlined the quality of dramatic production and of performance. This process aimed the development of criticism on poetics and aesthetic expertise by playwrights and actors, as well as the audience awareness of performance. Like the press, theatre served as a propagation vehicle for political, social and aesthetic ideas, by recreating identifiable characters and situations, and by illustrating appropriate behaviours to form both individual and collective consciousness. Drama studies and Theatrical Art evolved together with the establishment of literary, aesthetic and critical models. Since audiences were led to understand the content of plays as manuals of civility and citizenship, both playwrights and producers developed critical sense in the technique of drama writing and staging to enlighten the audiences. Alongside came the need to publish pocket books that delivered general understanding of theatre aesthetics to those who attended public and private theatres, and for amateur actors in the flourishing associative field of academies, clubs and drama groups.
Almeida Garrett idealised that general good taste would structure consumption habits, which would make-up the need of theatre as a means of civilization. The cultural plan he outlined comprised both the accurate training of playwrights and actors, as well as the tutoring of audiences. This enlightening concern served as the inquisitive foundation of this thesis on the nineteenth-century theatrical yearning for a "factitious market". In what way did the different sectors of drama and theatrical creation and propagation interact with one another? With the advent of the bourgeoisie, theatre became its favourite genre, and constituted a supreme medium for democratic education and jubilant entertainment. Outside the theatre industry, whose business expanded throughout the 19th century, the private theatre sphere created interactive relationship which streamlined the quality of dramatic production and of performance. This process aimed the development of criticism on poetics and aesthetic expertise by playwrights and actors, as well as the audience awareness of performance. Like the press, theatre served as a propagation vehicle for political, social and aesthetic ideas, by recreating identifiable characters and situations, and by illustrating appropriate behaviours to form both individual and collective consciousness. Drama studies and Theatrical Art evolved together with the establishment of literary, aesthetic and critical models. Since audiences were led to understand the content of plays as manuals of civility and citizenship, both playwrights and producers developed critical sense in the technique of drama writing and staging to enlighten the audiences. Alongside came the need to publish pocket books that delivered general understanding of theatre aesthetics to those who attended public and private theatres, and for amateur actors in the flourishing associative field of academies, clubs and drama groups.
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Palavras-chave
Teatro - Portugal - séc.19 Teatro - Públicos - Portugal - séc.19 Estética da recepção Teatro - Estética - séc.19 Arte dramática - Portugal - séc.19 Teses de doutoramento - 2017