Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Ilha do Desterro |
Texto Completo: | https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2020v73n2p35 |
Resumo: | The present article aims at discussing, first and briefly, the experimental features Samuel Beckett (1906-1989) imprinted in Waiting for Godot (1948-1949), among them the implosion of dramatic elements and the inscription of detailed performance instructions within the text itself, thus creating a performance model for which he used to demand respect. Thereupon, after addressing the 1955 first incursion of Godot in Brazil, a historical panorama of some outstanding stage productions of the play, mainly in terms of conceptualization and critical reception, will be provided, in the light of theoretical perspectives by Oswald de Andrade, José Roberto O’Shea, Patrice Pavis, Peter Burke, among others. |
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Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for GodotApropriação cultural: produções teatrais brasileiras de Waiting for Godot, de Samuel BeckettThe present article aims at discussing, first and briefly, the experimental features Samuel Beckett (1906-1989) imprinted in Waiting for Godot (1948-1949), among them the implosion of dramatic elements and the inscription of detailed performance instructions within the text itself, thus creating a performance model for which he used to demand respect. Thereupon, after addressing the 1955 first incursion of Godot in Brazil, a historical panorama of some outstanding stage productions of the play, mainly in terms of conceptualization and critical reception, will be provided, in the light of theoretical perspectives by Oswald de Andrade, José Roberto O’Shea, Patrice Pavis, Peter Burke, among others.O presente artigo tem como objetivo discutir, primeiramente e brevemente, as características experimentais que Samuel Beckett (1906-1989) imprimiu em Waiting for Godot (1948-1949), entre elas a implosão de elementos dramáticos e a inscrição de instruções detalhadas de execução no próprio texto , criando assim um modelo de desempenho para o qual ele exigia respeito. Assim, após abordar a primeira incursão de Godot em 1955 no Brasil, será apresentado um panorama histórico de algumas produções teatrais da peça, principalmente em termos de sua concepção e recepção crítica, à luz das perspectivas teóricas de Oswald de Andrade, José Roberto O'Shea, Patrice Pavis, Peter Burke, entre outros.UFSC2020-05-25info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2020v73n2p3510.5007/2175-8026.2020v73n2p35Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; Vol. 73 No. 2 (2020): The Irish Theatrical Diaspora; 35-48Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; v. 73 n. 2 (2020): The Irish Theatrical Diaspora; 35-482175-80260101-4846reponame:Ilha do Desterroinstname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCenghttps://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2020v73n2p35/43352Copyright (c) 2020 Anna Stegh Camatiinfo:eu-repo/semantics/openAccessCamati, Anna Stegh2020-05-25T14:33:32Zoai:periodicos.ufsc.br:article/70373Revistahttp://www.periodicos.ufsc.br/index.php/desterroPUBhttps://periodicos.ufsc.br/index.php/desterro/oaiilha@cce.ufsc.br||corseuil@cce.ufsc.br||ilhadodesterro@gmail.com2175-80260101-4846opendoar:2020-05-25T14:33:32Ilha do Desterro - Universidade Federal de Santa Catarina (UFSC)false |
dc.title.none.fl_str_mv |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot Apropriação cultural: produções teatrais brasileiras de Waiting for Godot, de Samuel Beckett |
title |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot |
spellingShingle |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot Camati, Anna Stegh |
title_short |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot |
title_full |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot |
title_fullStr |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot |
title_full_unstemmed |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot |
title_sort |
Cultural appropriation: brazilian stage productions of Samuel Beckett’s Waiting for Godot |
author |
Camati, Anna Stegh |
author_facet |
Camati, Anna Stegh |
author_role |
author |
dc.contributor.author.fl_str_mv |
Camati, Anna Stegh |
description |
The present article aims at discussing, first and briefly, the experimental features Samuel Beckett (1906-1989) imprinted in Waiting for Godot (1948-1949), among them the implosion of dramatic elements and the inscription of detailed performance instructions within the text itself, thus creating a performance model for which he used to demand respect. Thereupon, after addressing the 1955 first incursion of Godot in Brazil, a historical panorama of some outstanding stage productions of the play, mainly in terms of conceptualization and critical reception, will be provided, in the light of theoretical perspectives by Oswald de Andrade, José Roberto O’Shea, Patrice Pavis, Peter Burke, among others. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-05-25 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2020v73n2p35 10.5007/2175-8026.2020v73n2p35 |
url |
https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2020v73n2p35 |
identifier_str_mv |
10.5007/2175-8026.2020v73n2p35 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2020v73n2p35/43352 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2020 Anna Stegh Camati info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2020 Anna Stegh Camati |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
UFSC |
publisher.none.fl_str_mv |
UFSC |
dc.source.none.fl_str_mv |
Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; Vol. 73 No. 2 (2020): The Irish Theatrical Diaspora; 35-48 Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; v. 73 n. 2 (2020): The Irish Theatrical Diaspora; 35-48 2175-8026 0101-4846 reponame:Ilha do Desterro instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
instname_str |
Universidade Federal de Santa Catarina (UFSC) |
instacron_str |
UFSC |
institution |
UFSC |
reponame_str |
Ilha do Desterro |
collection |
Ilha do Desterro |
repository.name.fl_str_mv |
Ilha do Desterro - Universidade Federal de Santa Catarina (UFSC) |
repository.mail.fl_str_mv |
ilha@cce.ufsc.br||corseuil@cce.ufsc.br||ilhadodesterro@gmail.com |
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1789434830363033600 |