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Crítica textual e representação dramática
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Orientador(es)
Resumo(s)
O objectivo desta dissertação é fazer uma reflexão teórica e prática sobre uma
possível relação entre a Crítica Textual e a representação dramática. Apesar de esta
actividade, de carácter efémero e transitório, não ser um objecto comum da Crítica
Textual, a percepção da natureza e importância do produto textual dela resultante
pode contribuir para mudar o seu estatuto perante disciplinas filológicas. O texto
dramático, registado num suporte material fixo, é transformado pelo actor num
“texto representado” registado num suporte ao mesmo tempo material e imaterial,
o seu corpo e emoções. Este novo texto, a sua tradução e concretização do que é
sugerido pelo texto-fonte, é a etapa final de um processo criativo que se inicia na
mente do autor e sujeita o texto dramático a transformações, adaptações e
evoluções pela mão de diversos participantes. O texto produzido pelo actor poderá
assumir, assim, uma importância idêntica à do texto dramático de onde provém ou
até ter um impacto mais forte do que este último.
A legitimidade da abordagem da representação dramática pela Crítica Textual
foi avaliada através da exploração dos conceitos de “texto” e “representação
dramática”, bem como da consideração de traços de certas escolas ou correntes da
Crítica Textual que pareceram adequadas à abordagem aqui defendida. Em seguida
propôs-se um modelo teórico e prático, baseado na reflexão anterior, e que foi
testado com um exemplo real, a adaptação do texto dramático Um Eléctrico
Chamado Desejo, do dramaturgo Tennessee Williams, pelo encenador e realizador
Elia Kazan, com o actor Marlon Brando. Dados os resultados obtidos, sugere-se que o “texto representado” possa ser
considerado uma área de estudo especializada digna da atenção da Crítica Textual,
nos termos em que foi exposta neste trabalho. A consideração de um texto em
termos mais latos do que os habitualmente levados em conta pela Crítica Textual
tradicional poderá abrir o seu campo de estudo a outras entidades até agora não
contempladas. O texto produzido pelo actor poderá ser uma delas.
Abstract: The aim of this dissertation is to offer a theoretical and practical reflexion on a possible relationship between the subject of Textual Criticism and dramatic acting. Although this activity, because of its ephemeral and transient nature, is not a common object of interest of Textual Criticism, the perception of the nature and importance of the textual product resulting from it may contribute to change its status within filological fields of study. The dramatic script, registered on a fixed and physical document, is transformed by the actor into an “acted text” registered both in a physical and intangible way, his or her body and emotions. This new text, its translation and substantiation of what is suggested by the source-text, is the final stage in a creative process which begins inside the mind of the author and subjects the dramatic text to transformations, adaptations and developments carried out by several players. The text produced by the actor may, thus, assume an identical value to that of the dramatic script from which it developed, or even produce a higher impact. The legitimacy relating on the approach to dramatic acting by Textual Criticism was evaluated through the analysis of the concepts of “text” and “dramatic acting”, as well as through the consideration of several principles postulated by certain schools of thought stemming from Textual Criticism that support the approach explored in this work. Following this, we proposed a theoretical and practical model, based on that reflection, which was tested using a case study, the adaptation of the dramatic script of A Streetcar Named Desire, written by playwright iv Tennessee Williams and adapted to the stage and film by Elia Kazan, with actor Marlon Brando. According to the results obtained, it is suggested that the “acted text” may be considered a specialized field deserving the attention of Textual Criticism, in the terms in which it was explored in this dissertation. The consideration of a text in broader terms than those by which traditional Textual Criticism usually addresses any textual entity may broaden the field of study of this subject to other recordable forms ignored so far. The text produced by the actor may be one of them.
Abstract: The aim of this dissertation is to offer a theoretical and practical reflexion on a possible relationship between the subject of Textual Criticism and dramatic acting. Although this activity, because of its ephemeral and transient nature, is not a common object of interest of Textual Criticism, the perception of the nature and importance of the textual product resulting from it may contribute to change its status within filological fields of study. The dramatic script, registered on a fixed and physical document, is transformed by the actor into an “acted text” registered both in a physical and intangible way, his or her body and emotions. This new text, its translation and substantiation of what is suggested by the source-text, is the final stage in a creative process which begins inside the mind of the author and subjects the dramatic text to transformations, adaptations and developments carried out by several players. The text produced by the actor may, thus, assume an identical value to that of the dramatic script from which it developed, or even produce a higher impact. The legitimacy relating on the approach to dramatic acting by Textual Criticism was evaluated through the analysis of the concepts of “text” and “dramatic acting”, as well as through the consideration of several principles postulated by certain schools of thought stemming from Textual Criticism that support the approach explored in this work. Following this, we proposed a theoretical and practical model, based on that reflection, which was tested using a case study, the adaptation of the dramatic script of A Streetcar Named Desire, written by playwright iv Tennessee Williams and adapted to the stage and film by Elia Kazan, with actor Marlon Brando. According to the results obtained, it is suggested that the “acted text” may be considered a specialized field deserving the attention of Textual Criticism, in the terms in which it was explored in this dissertation. The consideration of a text in broader terms than those by which traditional Textual Criticism usually addresses any textual entity may broaden the field of study of this subject to other recordable forms ignored so far. The text produced by the actor may be one of them.
Descrição
Tese de mestrado, Linguística, Universidade de Lisboa, Faculdade de Letras, 2013
Palavras-chave
Teatro Arte dramática Crítica textual Teses de mestrado - 2013