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A arte e o ofício do teatro em Portugal no século XVII
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Este trabalho tem como objecto de estudo o teatro em Portugal no século XVII. A perspectiva historicista que preside a esta investigação recorreu a uma pluralidade de abordagens e metodologias que estiveram na origem dos quatro núcleos em que se organiza esta dissertação.
O primeiro centra-se nos textos de teatro de autores portugueses. Após uma revisitação da crítica literária sobre a produção dramática portuguesa deste século, procede-se a uma ponderação sobre os problemas em torno da definição do cânone de autores dramáticos portugueses seiscentistas. Seguidamente, é definido um conjunto de textos produzidos durante a Guerra da Restauração (1640-1668) e analisado na sua diversidade contextual, genológica e linguística.
Contígua aos comentários suscitados pela dramaturgia nacionalista é a abordagem à iconografia teatral que tem como objecto o estudo da comédia do autor português Jacinto Cordeiro Entrada del rey en Portugal. Neste capítulo são cotejadas imagens de tipologia diversa, produzidas no contexto da Entrada Régia de 1619, com o texto do dramaturgo português.
O terceiro eixo centra-se nos espaços teatrais da Lisboa seiscentista: o Pátio das Arcas, o das Fangas da Farinha e também o teatro em espaços privados. A revisitação da história destes teatros permite completar a lista de companhias castelhanas que passaram por Lisboa neste século bem como o repertório que ali apresentaram. O estudo da coexistência de dois teatros públicos lisboetas contribui, ainda, para compreender as relações entre diferentes instituições públicas da cidade e do reino e a Misericórdia de Lisboa, dando conta de conflitos de jurisdições e de disputas entre estes organismos no que à regulação da actividade teatral olisiponense dizia respeito.
Finalmente, é abordada a polémica sobre a licitude do teatro em Portugal, focada, numa primeira fase, no debate teórico produzido neste reino, e, posteriormente, num estudo de caso sobre as consequências práticas advindas de algumas decisões emanadas das autoridades civis e religiosas portuenses.
This dissertation focus on 17th century Portuguese theatre history. The historical perspective that supports this work is based on various approaches and methodologies, resulting on four main areas in which this dissertation is organized. The first chapter focus on the analysis of the plays by Portuguese authors of the 17th century. After an introductory revision of the literary criticism produced on this subject, a reflection on the problems concerning the definition of the 17th century portuguese authors follows. Subsequently, the study focus on a set of plays written during the war of the Restauração (1640-1668) and the variety on genres, contexts and languages used on them. Contiguous to the comments raised by a certain nationalist dramaturgy, the following chapter shifts towards a theatre iconography approach. Here, the play Entrada del rey en Portugal, by Jacinto Cordeiro, is cross-referenced with images of different typologies produced in the context of the Royal Entrance of 1619. The third chapter ir organized in terms of the different places where theatre was staged at this period: the theatre venue Pátio das Arcas de Lisboa, the Pátio das Fangas da Farinha and a pariticular performance which took place in a private house. The revision of the history of these playhouses allows to complete the list of Spanish theatre companies who performed in Lisbon as well as the repertoire that they presented there. At the same time, the study of the coexistence of two public theatre venues in Lisbon contributes to better understand the relations between different public institutions of the city and the kingdom and the Misericórdia of Lisbon, giving account of conflicts of jurisdictions and disputes between these bodies as to the regulation of activity. Finally, the controversy on the legitimacy of theatre in Portugal is scrutinized according to both the theoretical debate produced in Portugal and the practical consequences of that same dispute.
This dissertation focus on 17th century Portuguese theatre history. The historical perspective that supports this work is based on various approaches and methodologies, resulting on four main areas in which this dissertation is organized. The first chapter focus on the analysis of the plays by Portuguese authors of the 17th century. After an introductory revision of the literary criticism produced on this subject, a reflection on the problems concerning the definition of the 17th century portuguese authors follows. Subsequently, the study focus on a set of plays written during the war of the Restauração (1640-1668) and the variety on genres, contexts and languages used on them. Contiguous to the comments raised by a certain nationalist dramaturgy, the following chapter shifts towards a theatre iconography approach. Here, the play Entrada del rey en Portugal, by Jacinto Cordeiro, is cross-referenced with images of different typologies produced in the context of the Royal Entrance of 1619. The third chapter ir organized in terms of the different places where theatre was staged at this period: the theatre venue Pátio das Arcas de Lisboa, the Pátio das Fangas da Farinha and a pariticular performance which took place in a private house. The revision of the history of these playhouses allows to complete the list of Spanish theatre companies who performed in Lisbon as well as the repertoire that they presented there. At the same time, the study of the coexistence of two public theatre venues in Lisbon contributes to better understand the relations between different public institutions of the city and the kingdom and the Misericórdia of Lisbon, giving account of conflicts of jurisdictions and disputes between these bodies as to the regulation of activity. Finally, the controversy on the legitimacy of theatre in Portugal is scrutinized according to both the theoretical debate produced in Portugal and the practical consequences of that same dispute.
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Teatro português - séc.19 - História e crítica Teatro - Portugal - séc.19 Teatros - Portugal - séc.19 Teses de doutoramento - 2018