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Entre o que foi e há-de ser : o teatro de Ibsen como um problema de memórias
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A dramaturgia de Ibsen é um lugar, melhor dizendo, uma dinâmica de memórias. Na primeira parte desta tese, “Um Jardim de Cadáveres em Botão”, apresentam-se cronologicamente as peças de Catilina a Imperador e Galileu. É através da exposição e comentário dos respectivos enredos, personagens, imagens e símbolos que se reflecte sobre a importância do romantismo e do nacionalismo na dramaturgia de Ibsen anterior a 1877. Para melhor compreender o percurso de Ibsen, é traçado um retrato histórico, político, social, religioso, militar e cultural da Noruega e da Escandinávia. Ao mesmo tempo, conceitos como idealismo, ironia e paródia surgem aqui pela primeira vez. Serão recuperados e desenvolvidos na segunda parte e tornar-se--ão fundamentais para a leitura que será feita da dramaturgia realista de Ibsen como um teatro de memória paródico.
Se as peças anteriores a 1877 foram elementos de uma memória cultural de que a nação norueguesa precisava para construir um discurso identitário, os doze dramas que se seguiram a Os Pilares da Sociedade podem ser entendidos, numa primeira leitura, como exemplos de um realismo fotográfico que retrata a burguesia, os seus valores e, acima de tudo, as suas contradições. No entanto, por baixo da qualidade aparentemente superficial da dimensão comunicativa da memória, existe um conjunto de recordações stricto sensu e elementos de um acervo cultural que a acção presente traz à boca de cena. O retrato e a representação adequada da burguesia servem de charneira na história da dramaturgia ocidental e, ainda hoje, as doze peças finais de Ibsen continuam a ser espaços de negociação entre o passado, o presente e o futuro.
Ibsen’s plays are memory spaces or, if you prefer, memory dynamics. In the first part of this thesis, “Um Jardim de Cadáveres em Botão”, the plays from Catiline to Emperor and Galilean are the main focus. It is through the analysis of the plots, characters, images and symbols of these dramas that I manage to discuss the importance of Romanticism and Nationalism in the plays before 1877. To better understand the evolution of Ibsen, it is important to present facts about Norway and its historical, political, social, religious, military and cultural reality. Idealism, ambiguity, irony and parody are some of the most fundamental concepts of this thesis and they all appear for the first time in this section. Without them it is impossible to fully grasp my argument about the Realist plays: these constitute a parodic memory theatre. The dramas before 1877 are elements of the cultural memory of a country in need of a collective identity. Those that followed Pillars of the Community seem somehow different: a radical, though apparently superficial portrait of the bourgeoisie, of its values and, above all, its contradictions. Nevertheless, underneath this surface, there are personal and cultural memories that reemerge in the present time of the drama and play a pivotal and somehow disturbing role in it. The adequate portrait of the bourgeoisie Ibsen manages to achieve in the last twelve plays is today regarded as a benchmark in the History of Western drama. Each of these dramas was and still is a place of negotiation between memories and times, i.e., between past, present and future.
Ibsen’s plays are memory spaces or, if you prefer, memory dynamics. In the first part of this thesis, “Um Jardim de Cadáveres em Botão”, the plays from Catiline to Emperor and Galilean are the main focus. It is through the analysis of the plots, characters, images and symbols of these dramas that I manage to discuss the importance of Romanticism and Nationalism in the plays before 1877. To better understand the evolution of Ibsen, it is important to present facts about Norway and its historical, political, social, religious, military and cultural reality. Idealism, ambiguity, irony and parody are some of the most fundamental concepts of this thesis and they all appear for the first time in this section. Without them it is impossible to fully grasp my argument about the Realist plays: these constitute a parodic memory theatre. The dramas before 1877 are elements of the cultural memory of a country in need of a collective identity. Those that followed Pillars of the Community seem somehow different: a radical, though apparently superficial portrait of the bourgeoisie, of its values and, above all, its contradictions. Nevertheless, underneath this surface, there are personal and cultural memories that reemerge in the present time of the drama and play a pivotal and somehow disturbing role in it. The adequate portrait of the bourgeoisie Ibsen manages to achieve in the last twelve plays is today regarded as a benchmark in the History of Western drama. Each of these dramas was and still is a place of negotiation between memories and times, i.e., between past, present and future.
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Ibsen, Henrik, 1828-1906 - Crítica e interpretação Teatro norueguês - séc.19-20 - História e crítica Memória - Na literatura Memória colectiva - Na literatura Tempo - Na literatura Paródia (Literatura) Teses de doutoramento - 2018