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Teatro português no Brasil : do Império à Primeira República
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Este trabalho tem como objetivo a análise, importância e influência do teatro português no Brasil depois da Independência, em 1822, sua consolidação e apogeu no século XIX, os reflexos na primeira década do século XX com ênfase na participação dos artistas portugueses, suas relações, atividades profissionais e impressões do Brasil, destacando, ainda, as companhias portuguesas que atuaram no Rio de Janeiro, seus dirigentes, parte de seus elencos, peças produzidas e encenadas do drama clássico, a opereta, comédia, revista, assim como dos mais diversos gêneros teatrais. Foram períodos bastante ricos e decisivos para a história do Brasil e de Portugal, nos campos político, social e cultural em que ambos os países mantiveram fortes laços, em virtude de um passado comum, que moldaram aspectos importantes de suas identidades construindo uma tradição cultural luso-brasileira que daria frutos permanentes, notadamente no campo do entretenimento, em que o teatro teve um papel decisivo. O crescimento do Brasil como uma jovem nação aberta a receber levas de imigrantes para favorecer seu desenvolvimento tornou-se um atrativo para aqueles que se aventuravam em busca de um sucesso profissional e financeiro, que não fora conseguido em seus países de origem, devido aos problemas de múltiplas ordens, principalmente no campo econômico ou, ainda, em vislumbrar uma oportunidade para aumento de renda em sua atividade profissional conquistando novos horizontes de possibilidades, destacando-se, entre elas, a atividade teatral, uma das mais expressivas durante o século XIX e início do XX. Atraindo uma vasta população de imigrantes, em sua maioria vinda do norte de Portugal, estabeleceu-se uma grande colônia portuguesa no Brasil formando uma classe social ascendente que lotava teatros para assistir a espetáculos variados de companhias portuguesas, proporcionando um contato mais íntimo com suas tradições e diminuindo a saudade da terra distante. A participação de empresários teatrais portugueses que praticamente monopolizaram esse mercado no Rio de Janeiro – então capital do país – no século XIX, palco principal dos acontecimentos políticos, culturais e econômicos do Brasil, incentivou, ainda mais, o intercâmbio teatral entre os dois países, a ponto de muitos artistas portugueses permanecerem definitivamente no Brasil e outros passarem largas temporadas com suas companhias. O fruto dessa participação portuguesa nos teatros brasileiros proporcionou, de maneira mais significativa, uma cultura luso-brasileira já evidenciada pelo contato dos imigrantes com a população local. A influência portuguesa, portanto, foi decisiva e determinante também para a construção do teatro brasileiro e para sua identidade. É sobre esse roteiro de entretenimento e mudanças socioculturais e políticas, fundamentais para ambos os países – que entre tantas transformações alteraram seus regimes de governo – que esta dissertação irá debruçar- se.
This work aims to analyse the importance and influence of Portuguese theater in Brazil after the Independence in 1822, its consolidation and heyday in the 19th century, the reflexes in the first decade of the 20th century with emphasis on the participation of Portuguese artists, their relations, professional activities and impressions of Brazil, also highlighting the Portuguese companies that performed in Rio de Janeiro, their leaders, part of their casts, pieces produced and staged of the classic drama, the operetta, comedy, magazine theater, as well as the most diverse theatrical genres. These were very rich and decisive periods for the history of Brazil and Portugal, in the political, social and cultural fields in which both countries maintained strong ties, due to a common past, that shaped important aspects of their identities, building a Luso-Brazilian cultural tradition that would bear permanent fruit, notably in the field of entertainment, where theater played a decisive role. Brazil's growth as a young nation open to waves of immigrants to foster its development has become attractive to those venturing for professional and financial success that were not achieved in their home countries due to the problems of multiple orders, especially in the economic field or even in glimpsing an opportunity to increase income in their professional activity conquering new horizons of possibilities, highlighting, among them, the theatrical activity, one of the most expressive during the XIX century and beginning of the XX. Attracting a vast immigrant population, mostly from the north of Portugal, a large Portuguese colony was established in Brazil forming a rising social class that crowded theaters to watch various shows of Portuguese companies, providing a more intimate contact with their traditions and diminishing the longing for the distant land. The participation of Portuguese theatrical entrepreneurs who practically monopolized this market in Rio de Janeiro – then the capital of the country – in the XIX century, the main stage of Brazil's political, cultural and economic events, further encouraged the theatrical exchange between the two countries, to the point that many Portuguese artists definitely stayed in Brazil and others spend long seasons with their companies. The result of Portuguese participation in Brazilian theaters provided, more significantly, a Luso- Brazilian culture already evidenced by the contact of immigrants with local population. Therefore, Portuguese influence was decisive and determinant also to the construction of the Brazilian theater and to its identity. It is in this script of entertainment and sociocultural and political changes, fundamental for both countries – that among many transformations have changed their regimes of government – that this dissertation will address.
This work aims to analyse the importance and influence of Portuguese theater in Brazil after the Independence in 1822, its consolidation and heyday in the 19th century, the reflexes in the first decade of the 20th century with emphasis on the participation of Portuguese artists, their relations, professional activities and impressions of Brazil, also highlighting the Portuguese companies that performed in Rio de Janeiro, their leaders, part of their casts, pieces produced and staged of the classic drama, the operetta, comedy, magazine theater, as well as the most diverse theatrical genres. These were very rich and decisive periods for the history of Brazil and Portugal, in the political, social and cultural fields in which both countries maintained strong ties, due to a common past, that shaped important aspects of their identities, building a Luso-Brazilian cultural tradition that would bear permanent fruit, notably in the field of entertainment, where theater played a decisive role. Brazil's growth as a young nation open to waves of immigrants to foster its development has become attractive to those venturing for professional and financial success that were not achieved in their home countries due to the problems of multiple orders, especially in the economic field or even in glimpsing an opportunity to increase income in their professional activity conquering new horizons of possibilities, highlighting, among them, the theatrical activity, one of the most expressive during the XIX century and beginning of the XX. Attracting a vast immigrant population, mostly from the north of Portugal, a large Portuguese colony was established in Brazil forming a rising social class that crowded theaters to watch various shows of Portuguese companies, providing a more intimate contact with their traditions and diminishing the longing for the distant land. The participation of Portuguese theatrical entrepreneurs who practically monopolized this market in Rio de Janeiro – then the capital of the country – in the XIX century, the main stage of Brazil's political, cultural and economic events, further encouraged the theatrical exchange between the two countries, to the point that many Portuguese artists definitely stayed in Brazil and others spend long seasons with their companies. The result of Portuguese participation in Brazilian theaters provided, more significantly, a Luso- Brazilian culture already evidenced by the contact of immigrants with local population. Therefore, Portuguese influence was decisive and determinant also to the construction of the Brazilian theater and to its identity. It is in this script of entertainment and sociocultural and political changes, fundamental for both countries – that among many transformations have changed their regimes of government – that this dissertation will address.