A dialética em ação no teatro do Centro Popular de Cultura - CPC : mediações entre arte e sociedade 1961-1964

• Autor(a) principal: Tolentino, Thaís Aparecida Domenes
• Data de Publicação: 2015
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da Universidade Estadual de Maringá (RI-UEM)
• Texto Completo: http://repositorio.uem.br:8080/jspui/handle/1/3999
• topic: Crítica literária; Literatura e historicidade; Teatro moderno; Teatro épico; Brasil.; Linguística, Letras e Artes; Letras

This study aims to update the debate about the theatre produced by the Centro Popular de Cultura (CPC) between 1961 and 1964 and its resonances in the dissemination process of a modern and political theatre beyond the central line Rio - São Paulo. Taking part in the historical and social process that was taking place in Brazil right before the civil military coup of 1964, the CPC engaged a cultural and artistic production focused on a direct political activity. Furthermore, the group was interested in the research of new ways to approach and express social contents, in subverting the logic of cultural and artistic production and in instructing countless of organized civil society groups organized by that time. In order to achieve these project's goals, we started by studying the historical development of the epic theatre's theory which was a groundwork for CPC. The production of plays such as Eles não usam black-tie, in 1958, by Gianfrancesco Guarnieri, and Chapetuba Futebol Clube, in 1959, by Oduvaldo Vianna Filho, at the Arena Theatre, represents a step forward for the Brazilian theatre, which indicated that a dramatic art engaged with the national issues were on the agenda. After Revolução na América do Sul, in 1960, by Augusto Boal, and A mais-valia vai acabar, Seu Edgar, in 1961, de Oduvaldo Vianna Filho, Brazilian theatrical production became to be thought not only as a national content expression, but mainly in terms of a genuine and popular form. Furthermore, the vast theatrical production by CPC, which also includes an agitation and propaganda plays, should not be analysed apart from its context: unlike the common sense critics, these plays overcame the pamphleteer feature and they were very important for the formation of a militant theatre by approaching immediate and circumstantial social contents in the country's scene. The repercussion of this political-cultural and artistic project driven by CPC were also felt in Paraná State's context, specially committed with a movement of the amateur theatre and the effective consolidation of student theatre groups in academic contexts. Thus, this work seeks to analyze articulations between art and social processes by showing not only the group's actuality. It also aims to comprehend the political plays produced by CPC as a period mark of the Brazilian theatre's development, which attempted to bring the voices of a voiceless society on the stage and resound a critical content to the people during the years that proceeded the Military Coup.