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Fröken Julie: Teatrografias

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Fröken Julie: Teatrografias TÂNIA FILIPE E CAMPOS Fröken Julie: teatrografias. Importação de modelos teatrais e literários Tese de Doutoramento em Estudos Teatrais apresentada à Universidade de Évora, sob a orientação da Professora Doutora Christine Zurbach e co-orientação do Professor Doutor Gonçalo Vilas-Boas Évora / 2012 Esta tese inclui as críticas e sugestões feitas pelo júri Este programa de doutoramento foi apoiado com uma bolsa de investigação pela Fundação para a Ciência e a Tecnologia Contactos: Universidade de Évora Instituto de Investigação e Formação Avançada - IIFA Palácio do Vimioso | Largo Marquês de Marialva, Apart. 94 7002-554 Évora | Portugal Tel: (+351)1 266 706 581 Fax: (+351) 266 744 677 email: [email protected] Fröken Julie: teatrografias. 2 Índice Fröken Julie: theatrographies. Theatrical and literary importation of role models into Portugal. ABSTRACT This study intends to characterize the presence of August Strindberg’s dramaturgy in Portugal, through reception theory of Fröken Julie. It outlines the dynamics of Portuguese theatrical creation since the play was performed in 1960 until its last register on national stage, in 2011. It is also relevant to consider the play writing concerning its cultural context, as well as the impact it has had in Europe and in the USA. According to the specific nature of this master piece, some other transpositions were also considered in relevant approach. Analysing a specific set of Portuguese we were lead to conclusions concerning the ways of staging and creating drama in Portugal through direct or indirect importation of theatrical and literary models, distinguishing the cultural features of texts and the fact that source and target domains are both dependent, in a generic-level, on particular and specific elements. 3 Fröken Julie: teatrografias. 4 Índice Fröken Julie: teatrografias. Importação de modelos literários e teatrais em Portugal RESUMO Este estudo pretende fazer a caracterização da presença da dramaturgia de August Strindberg em Portugal, nomeadamente através da recepção de Fröken Julie, percorrendo a dinâmica da criação teatral portuguesa desde que a peça foi encenada em 1960 até à última encenação de que há registo, no nosso país, em 2011. Apresenta-se então uma análise profunda sobre a construção da peça pelo dramaturgo sueco e o impacto que teve por toda a Europa e nos EUA. Dado o carácter específico da obra são analisadas com algum pormenor as transposições mais significativas que dela se fizeram para outros campos artísticos. Recenseando seguidamente um conjunto específico de encenações portuguesas, levantam-se questões relacionadas com as modalidades de encenação e de criação dramatúrgica em Portugal, através da importação de modelos teatrais e literários ― directos e indirectos ― que permitem atentar na especificidade de elementos característicos da cultura de partida, intermediária e de chegada. 5 Fröken Julie: teatrografias. 6 Índice Para a Francisca. 7 Fröken Julie: teatrografias. 8 Índice ÍNDICE Agradecimentos .............................................................................................................. 13 Introdução ...................................................................................................................... 15 I. Delimitação do campo de investigação ................................................................... 15 1. Génese e contexto do estudo da obra de August Strindberg: Fröken Julie ― teatrografias ........................................................................................................... 15 II. Modelo de produção teórico-metodológico .......................................................... 40 1. Preocupações teóricas e funções estruturantes ................................................ 40 2. Dos percursos metodológicos na investigação tradutológica e teatrológica .... 42 Parte I .............................................................................................................................. 53 Là-bas, dans le pays du Nord, la brume s’agite. ............................................................. 55 Uma biografia em cinco actos. ....................................................................................... 65 I. Tjänstekvinnans son e Fröken Julie: reescrita de elementos. ................................. 65 II. Siri e Strindberg: realidade tornada ficção. ............................................................ 80 III. Frida Uhl: o amor e a amizade. Fase pré-Inferno. ................................................. 93 IV. Inferno ................................................................................................................... 99 V. Pelos desertos até à terra prometida: Harriet Bosse e Fanny Falkner ................ 109 Parte II........................................................................................................................... 123 Frokën Julie: O enredo. ................................................................................................. 125 I. Aspirações e Invocações ........................................................................................ 125 Aspectos técnicos. Desenlace da peça. ........................................................................ 153 I. Num acto: monólogo, pantomina, ballet e Wagner. ............................................. 153 II. Nesta peça cometeu-se um suicídio. .................................................................... 171 9 Fröken Julie: teatrografias. Parte III.......................................................................................................................... 181 Encenações, Transposições e reescritas. ...................................................................... 183 I. Fröken Julie no teatro: de 1889 até 1961. ............................................................. 185 1. Fröken Julie na Suécia ....................................................................................... 190 2. Fräulein Julie e Das Doppelte Julchen na Alemanha ........................................ 194 3. Mademoiselle Julie e Mademoiselle Julie en trois tableaux em França ........... 198 4. Countess Julie; The Mistress of the House e Miss Julie, nos EUA e em Londres .............................................................................................................................. 207 5. Panna Julia e Grafinia Julia nos Países de Leste ............................................... 209 6. Menina Júlia e Señorita Julia na Península Ibérica ........................................... 212 II. Transposições: Rádio, Televisão, Cinema, Ópera e Ballet .................................... 232 1. Rádio ................................................................................................................. 232 2. Televisão ........................................................................................................... 236 3. Cinema .............................................................................................................. 253 4. Ópera ................................................................................................................ 314 5. Ballet ................................................................................................................. 324 III. Reescritas da Obra ............................................................................................... 339 1. After Miss Julie ― Patrick Marber after Strindberg ......................................... 339 2. The Master’s Boy ― Phil Willmott .................................................................... 361 Parte IV ......................................................................................................................... 383 Recepção de Fröken Julie em Portugal. Importação de modelos literários e teatrais. 385 I. Fröken Julie: Edições Portuguesas ......................................................................... 387 II. Fröken Julie no teatro português e europeu: Análise de algumas encenações. Contrastes e aproximações. ..................................................................................... 406 1. Contrastes e aproximações: Mademoiselle Julie em França – de Antoine até Renucci. ................................................................................................................ 425 10 Índice 2. Contrastes e aproximações: Miss Julie no Reino Unido ― uma explosão a partir dos anos 90. .......................................................................................................... 442 3. Contrastes e aproximações: Miguel Narros e La Señorita Julia em Espanha... 455 4. Dramaten e Svenska teatern: um caminho entre o preto e branco e o azul. .. 459 III. A construção de teatro nacional em Portugal: o Teatro Nacional D. Maria II. Duas encenações naturalistas. .......................................................................................... 473 IV. Fröken Julie nas companhias de teatro independentes ...................................... 497 1. Fröken Julie: o teatro universitário e as escolas de formação de actores. ...... 506 2. Companhia de Teatro de Braga, 1985, uma encenação de Luís Varela. .......... 532 3. Teatro das Beiras, 1996: a encenação inclinada de Rui Sena........................... 539 Considerações finais ..................................................................................................... 549 Apêndices ....................................................................................................................
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