Hilda Hilst e a tradição moderna do teatro
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/9065 |
Resumo: | This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration. |
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Sousa, Heleno Godói dehttp://lattes.cnpq.br/4388813326632106Teixeiro, Alva MartínezSousa, Heleno Godói deMachado, Maria Ângela de Ambrosis PinheiroBorges, LucianaCamargo, Flávio PereiraFaria, Zênia dehttp://lattes.cnpq.br/4147781219635044Leal, Cristyane Batista2018-11-14T12:56:02Z2018-03-08LEAL, C. B. Hilda Hilst e a tradição moderna do teatro. 2018. 204 f. Tese (Doutorado em Letras e Linguística) - Universidade Federal de Goiás, Goiânia, 2018.http://repositorio.bc.ufg.br/tede/handle/tede/9065This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration.Este estudo apresenta uma leitura interpretativa de seis peças de Hilda Hilst: A empresa, O rato no muro, Auto da barca de Camiri, As aves da noite, O novo sistema e A morte do patriarca, por meio de pressupostos teóricos do Teatro do Absurdo, especialmente aqueles de Ionesco, e os do Teatro da Crueldade, de Antonin Artaud. Essas peças têm em comum a distância, em diferentes níveis, que estabelecem em relação às formas tradicionais de desenvolvimento e resolução dos conflitos dramáticos, configurando-se como dramas estáticos. Considerando o fato de se tratar de um teatro essencialmente lírico, este trabalho enxerga o lirismo como um estilo que contribuiu para a constituição das artes modernas, com ênfase no teatro simbolista do final do século XIX, aproximando o teatro hilstiano do Teatro do Absurdo do século XX e localizando sua marginalidade no teatro brasileiro, em razão de seu afastamento da estética brechtiana e realista que, na época da sua escrita, era predominante na cena brasileira. A situação periférica do teatro de Hilda Hilst é aqui apresentada como consequência do próprio lugar que a cultura do teatro ocupa no Brasil, sempre em desvantagem se comparado a outras artes. A singularidade de seu teatro repousa em seu deslizamento entre categorias dramáticas, líricas e do teatro do absurdo, revelando a consciência da incomunicabilidade e incapacidade do herói-poeta em assegurar a integridade humana nos eternos sistemas sociais totalitários, daí também sua aproximação ao Teatro da Crueldade artaudiano. Mesmo assim, implodindo a realidade por escolhas abstratas de composição de personagens, ação, tempo e espaço, os dramas hilstianos se apresentam como resposta resistente e consciente ao colapso social resultante de deteriorações humanas.Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-11-14T10:39:01Z No. of bitstreams: 2 Tese - Cristyane Batista Leal - 2018.pdf: 1867650 bytes, checksum: 73acc2103008b981aad6b385cd35c494 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-14T12:56:02Z (GMT) No. of bitstreams: 2 Tese - Cristyane Batista Leal - 2018.pdf: 1867650 bytes, checksum: 73acc2103008b981aad6b385cd35c494 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2018-11-14T12:56:02Z (GMT). No. of bitstreams: 2 Tese - Cristyane Batista Leal - 2018.pdf: 1867650 bytes, checksum: 73acc2103008b981aad6b385cd35c494 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-08Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfporUniversidade Federal de GoiásPrograma de Pós-graduação em Letras e Linguística (FL)UFGBrasilFaculdade de Letras - FL (RG)http://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessHilda HilstTeatroAbsurdoCrueldadeLíricaTheatreAbsurdCrueltyLyricismLINGUISTICA, LETRAS E ARTES::LETRASHilda Hilst e a tradição moderna do teatroHilda Hilst and the modern tradicion of theatreinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesis-1403758209736362229600600600600-5417850704678072988-54094192628864980882075167498588264571reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGLICENSElicense.txtlicense.txttext/plain; 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dc.title.eng.fl_str_mv |
Hilda Hilst e a tradição moderna do teatro |
dc.title.alternative.eng.fl_str_mv |
Hilda Hilst and the modern tradicion of theatre |
title |
Hilda Hilst e a tradição moderna do teatro |
spellingShingle |
Hilda Hilst e a tradição moderna do teatro Leal, Cristyane Batista Hilda Hilst Teatro Absurdo Crueldade Lírica Theatre Absurd Cruelty Lyricism LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
Hilda Hilst e a tradição moderna do teatro |
title_full |
Hilda Hilst e a tradição moderna do teatro |
title_fullStr |
Hilda Hilst e a tradição moderna do teatro |
title_full_unstemmed |
Hilda Hilst e a tradição moderna do teatro |
title_sort |
Hilda Hilst e a tradição moderna do teatro |
author |
Leal, Cristyane Batista |
author_facet |
Leal, Cristyane Batista |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Sousa, Heleno Godói de |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/4388813326632106 |
dc.contributor.advisor-co1.fl_str_mv |
Teixeiro, Alva Martínez |
dc.contributor.referee1.fl_str_mv |
Sousa, Heleno Godói de |
dc.contributor.referee2.fl_str_mv |
Machado, Maria Ângela de Ambrosis Pinheiro |
dc.contributor.referee3.fl_str_mv |
Borges, Luciana |
dc.contributor.referee4.fl_str_mv |
Camargo, Flávio Pereira |
dc.contributor.referee5.fl_str_mv |
Faria, Zênia de |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/4147781219635044 |
dc.contributor.author.fl_str_mv |
Leal, Cristyane Batista |
contributor_str_mv |
Sousa, Heleno Godói de Teixeiro, Alva Martínez Sousa, Heleno Godói de Machado, Maria Ângela de Ambrosis Pinheiro Borges, Luciana Camargo, Flávio Pereira Faria, Zênia de |
dc.subject.por.fl_str_mv |
Hilda Hilst Teatro Absurdo Crueldade Lírica |
topic |
Hilda Hilst Teatro Absurdo Crueldade Lírica Theatre Absurd Cruelty Lyricism LINGUISTICA, LETRAS E ARTES::LETRAS |
dc.subject.eng.fl_str_mv |
Theatre Absurd Cruelty Lyricism |
dc.subject.cnpq.fl_str_mv |
LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration. |
publishDate |
2018 |
dc.date.accessioned.fl_str_mv |
2018-11-14T12:56:02Z |
dc.date.issued.fl_str_mv |
2018-03-08 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
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dc.identifier.citation.fl_str_mv |
LEAL, C. B. Hilda Hilst e a tradição moderna do teatro. 2018. 204 f. Tese (Doutorado em Letras e Linguística) - Universidade Federal de Goiás, Goiânia, 2018. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/9065 |
identifier_str_mv |
LEAL, C. B. Hilda Hilst e a tradição moderna do teatro. 2018. 204 f. Tese (Doutorado em Letras e Linguística) - Universidade Federal de Goiás, Goiânia, 2018. |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/9065 |
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por |
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UFG |
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Universidade Federal de Goiás |
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