Configurações líricas do teatro de Hilda Hilst

• Autor(a) principal: Leal, Cristyane Batista
• Data de Publicação: 2012
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000002vfv
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/3763
• topic: Hilda Hilst; Drama lírico; Teatro brasileiro; Hilda Hilst; Lyric theater; Brasilian theater; LETRAS::TEORIA LITERARIA

This research examines the lyrical settings on the plays written by Hilda Hilst (1930- 2004). We analyze these plays: A empresa ou A possessa, O rato no muro, O visitante, Auto da barca de Camiri or Estória, muito notória, de uma ação declaratória and As aves da noite. These plays were written between the years 1967 and 1968 and they were published in Teatro completo (2008). It is understood that the lyricism of these plays, characteristic of a poet who writes theater and paradigmatic of a modern theater trend, is also linked to a national context of political oppression and restriction of freedom, although the plays transcends that. Accordingly, as a thesis suggested by the author herself, first complaint itself, the lyricism is the expression par excellence of the subject placed in an extreme situation. In the plays examined, we see that the poetic reflects a subjectivity repressed by various institutions that curtail individuality. The poet or artist, represented in them, is always present and sings its song of freedom, resisting a time which is hostile and oppressive. Representing an extreme situation, the dramatic character of Hilda Hilst do not have a sharp boundary, living situations in which the external action is secondary, forming a core fable frayed, his lines, often erupting in images possess the melodic rhythm poetry than the logical development of prose. These elements make up some of the lyrical settings of the Hilda Hilst’s plays. For its development, this research is divided into three chapters. In the first, there is a review of the critical reception of the dramaturgy of Hilda Hilst, trying to situate this research in relation to this critical material existing and trying to understand the shy critical reception of hilstian theater encouraged over the number of papers on poetry and fiction author. The second chapter is a brief itinerary conducted by Western drama, trying to locate the writer in an antirealist trend of the western theater. Also in this chapter, it is thought the hilstian drama at a specific time of Brazilian theater, contextualizing it in a national theater scene. In the third chapter, finally looking up mapping lyrical elements in the hilstian theather.