Narração de histórias: a performance como leitura

• Autor(a) principal: Gomes, Elaine Cristina
• Data de Publicação: 2016
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/14773
• topic: Literatura; Narração; Histórias; Performance; Arte; Literature; Narration; Stories; Performance; Art; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA

The aim of the present study is to discuss the role of the performance in narrative stories. It seeks to verify how different languages involved in the performance voice, gestures, sounds, costumes contribute to the construction of different readings of the literary text by the receiver public.The relevance of this issue lies specially in the fact it stands in a little explored place in literary studies, as well as enabling the study of the literature in dialogs with other artistic forms. The research is organized in three chapters. In chapter I, entitled The influence of artistic movements and the oral and written tradition in the art of storytelling presents, initially, the concept of performance, its direct relations with futuristic and surrealistic movements and the performance in the contemporary context. In the second one, The audience as co-author and the narrative in performance from the tale The Weaver Girl, by Marina Colasanti, it will be discussed the role of the audience towards the performance, thus, the process of the literary text reception by the audience. Here, it is presented the corpus of the research the tale The Weaver Girl, by Marina Colasanti and its appropriation by the storyteller. In The reception and narrative practice, last chapter of this study, it will be presented and analyzed the elements involved in the performance of the narrative The Weaver Girl, listing the numerous hypotheses of learning, of comprehension and interpretation of the literary text raised by the performance. From the collection of the impressions of the receiver, having as base the studies of Zumthor which ensure that the performance only happens in the built atmosphere for that specific moment it is possible to observe that when the narrator, the story and the audience meet each other, the performance allows a set of readings