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Viva o povo brasileiro : um caminho dramatúrgico para o romace de João Ubaldo Ribeiro
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Orientador(es)
Resumo(s)
Ao propormos o desafio de ser concebida uma versão dramatúrgica para o romance
Viva o povo brasileiro, do escritor brasileiro João Ubaldo Ribeiro, essa investigação
atravessa uma fronteira entre a literatura e o teatro que está em constante demarcação.
Há séculos que espectáculos de origem romanesca povoam os palcos, mas é sabido que
as transformações ocorridas no teatro a partir do século XIX causaram uma significativa
turbulência nessa convivência. As complexas relações sociais de um novo tempo
colocaram em cheque os mecanismos da forma dramática e parecem ter reconhecido na
narrativa do romance uma capacidade mais apurada para tratar das questões do homem
no mundo moderno. O surgimento da figura do encenador e as pesquisas do teatro
épico de Berltolt Brecht também foram alguns dos factores que impulsionaram um
processo de esvaziamento do drama. Mas fica a pergunta: como realizar a transposição
dramatúrgica de um romance? Na procura por pistas para concretizar a nossa tarfefa,
fomos, inicialmente, em busca de compreender as novas acepções para o termo
dramaturgia e os diferentes estados do texto teatral na escrita contemporânea. Depois
fizemos uma breve aproximação com informações norteadoras acerca do surgimento, do
conteúdo da representação e da linguagem do romance, através, respectivamente, das
teorias de Hegel, Georg Lukács e Mikhail Bakhtin. Em seguida, com o foco no trabalho
prático do encenador/dramaturgo, identificamos as diferentes modalidades de
apropriação da obra literária e as operações que, em geral, podem ser efectuadas no
texto original. Complementam essa fase da pesquisa a proveitosa visita ao processo de
trabalho realizado por três experientes encenadores: João Brites, Luiz Arthur Nunes, e
Aderbal Freire-filho. Munidos de valiosos exemplos, partirmos para a análise detalhada
do romance de Ubaldo Ribeiro e iniciamos o processo dramatúrgico. O resultado foi ao
encontro de uma dramaturgia que não eliminasse o traço épico e que conservasse, ao
máximo, a escrita original e a força imagética do romance. Viva o povo brasileiro, nesta
proposta teatral, terá a forma de uma trilogia: A Irmandade, Dafé e Os segredos da
canastra.
In proposing the challenge of conceiving a dramatic version for the novel Viva o Povo Brasileiro, by the Brazilian writer João Ubaldo Ribeiro, this research crosses a boundary between literature and theater that is in constant demarcation. For centuries romanesque shows populate the stages, but it is well known that the transformations that took place in the theater starting in nineteenth century caused a significant turbulence in this coexistence. The complex social relations of a new time have questioned the mechanisms of the dramatic form and seem to have recognized in the narrative of the novel a more refined capacity to deal with the issues of the modern world man. The emergence of the role of director and the researches of the epic theater of Berltolt Brecht were also some of the factors that drove a process of drama emptying. But the question remains: how to carry out the dramaturgical transposition of a novel? In searching for clues to accomplish our task, we were initially seeking to understand the new meanings for the term dramaturgy and the different states of the theatrical text in contemporary writing. We then briefly approximated guiding information about the emergence, the content of the representation and the language of the novel, through, respectively, the theories of Hegel, Georg Lukács and Mikhail Bakhtin. Then, focusing on the practical work of the director / playwright, we identify the different modalities of appropriation of the literary work and the operations that, in general, can be carried out in the original text. Complement this phase of the research the fruitful visit to the work process carried out by three experienced directors: João Brites, Luiz Arthur Nunes, and Aderbal Freire-Filho. Armed with valuable examples, we start the detailed analysis of Ubaldo Ribeiro's novel and begin the dramaturgical process. The result was a play that did not eliminate the epic trait and which preserved, to the maximum, the original writing and the force of the images of the novel. Viva o Povo Brasileiro, in this theatrical proposal, will take the form of a trilogy: A Irmandade, Dafé and Os Segredos da Canastra.
In proposing the challenge of conceiving a dramatic version for the novel Viva o Povo Brasileiro, by the Brazilian writer João Ubaldo Ribeiro, this research crosses a boundary between literature and theater that is in constant demarcation. For centuries romanesque shows populate the stages, but it is well known that the transformations that took place in the theater starting in nineteenth century caused a significant turbulence in this coexistence. The complex social relations of a new time have questioned the mechanisms of the dramatic form and seem to have recognized in the narrative of the novel a more refined capacity to deal with the issues of the modern world man. The emergence of the role of director and the researches of the epic theater of Berltolt Brecht were also some of the factors that drove a process of drama emptying. But the question remains: how to carry out the dramaturgical transposition of a novel? In searching for clues to accomplish our task, we were initially seeking to understand the new meanings for the term dramaturgy and the different states of the theatrical text in contemporary writing. We then briefly approximated guiding information about the emergence, the content of the representation and the language of the novel, through, respectively, the theories of Hegel, Georg Lukács and Mikhail Bakhtin. Then, focusing on the practical work of the director / playwright, we identify the different modalities of appropriation of the literary work and the operations that, in general, can be carried out in the original text. Complement this phase of the research the fruitful visit to the work process carried out by three experienced directors: João Brites, Luiz Arthur Nunes, and Aderbal Freire-Filho. Armed with valuable examples, we start the detailed analysis of Ubaldo Ribeiro's novel and begin the dramaturgical process. The result was a play that did not eliminate the epic trait and which preserved, to the maximum, the original writing and the force of the images of the novel. Viva o Povo Brasileiro, in this theatrical proposal, will take the form of a trilogy: A Irmandade, Dafé and Os Segredos da Canastra.
Descrição
Palavras-chave
Ribeiro, João Ubaldo, 1940-2014. Viva o povo brasileiro - Adaptações teatrais Romance brasileiro - séc.20 - Adaptações teatrais - História e crítica Romance - Adaptações teatrais - História e crítica Teatro - Produção e encenação Teses de doutoramento - 2018