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Universidade De São Paulo Faculdade De Filosofia UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS MODERNAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LINGUÍSTICOS E LITERÁRIOS EM INGLÊS EDUARDO LUÍS CAMPOS LIMA In the belly of the monster: Workers’ dramaturgy in the ABCD region (Brazil) and in the Southwest of the United States of America Revised version (via corrigida) SÃO PAULO 2019 EDUARDO LUÍS CAMPOS LIMA In the belly of the monster: Workers’ dramaturgy in the ABCD region (Brazil) and in the Southwest of the United States of America Revised version Doctoral thesis presented to the Programa de Estudos Linguísticos e Literários em Inglês of the Faculdade de Filosofia, Letras e Ciências Humanas of the Universidade de São Paulo in fulfillment of the degree requirements for obtaining a Doctorate of Philosophy in Literature Supervisor: Profa. Dra. Maria Sílvia Betti SÃO PAULO 2019 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo Lima, Eduardo Luís Campos L732i In the belly of the monster: Workers’ dramaturgy in the ABCD region (Brazil) and in the Southwest of the United States of America / Eduardo Luís Campos Lima ; orientadora Maria Sílvia Betti. - São Paulo, 2019. 139 f. Tese (Doutorado)- Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Departamento de Letras Modernas. Área de concentração: Estudos Linguísticos e Literários em Inglês. 1. Teatro épico. 2. Teatro operário. 3. Teatro político. 4. Teatro chicano. I. Betti, Maria Sílvia, orient. II. Título. LIMA, Eduardo Luís Campos. In the belly of the monster: Workers’ dramaturgy in the ABCD region (Brazil) and in the Southwest of the United States of America. Tese apresentada à Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo para obtenção do título de Doutor em Letras. Aprovado em: BANCA EXAMINADORA Prof. Dr. ________________________ ______ Instituição _____________________________ Julgamento __________________________ Assinatura _______________________________ Prof. Dr. ________________________ ______ Instituição _____________________________ Julgamento __________________________ Assinatura _______________________________ Prof. Dr. ________________________ ______ Instituição _____________________________ Julgamento __________________________ Assinatura _______________________________ ACKNOWLEDGEMENT Firstly, I would like to express my deep gratitude to my advisor Prof. Maria Sílvia Betti for her continuous support of my Ph.D study and all matters related to my research and my concrete life as a PhD student in Brazil and abroad. The conclusion of this work would be completely impossible without her ideas and reflections, without her work as a researcher and a professor, without her help as a loyal friend. My sincere thanks also go to all current and past members of theater groups that contributed time, records, and memories: Noé Montoya, Adrian Torres, Daniel Valdez, Luis Valdez, Ed Robledo, R.G. Davis, Veronica Sanchez, Ramon Flores, Bennett Hammer, Marcos Martinez, Monica Sanchez, Chuy Martinez, Michael Bloom, Arturo Sandoval, Barclay Goldsmith, Pancho Medina, Arturo Martinez, Teresa Jones, Pernela Jones, Scott Egan, Silviana Wood, Pamela Calla, Tin Urbinatti, Eduardo Moreira, Maria José Elesbão, Izilda Françoso, José Massayuki, Áurea Ianni, Bernard Hervy, Isabel Peres, Expedito Soares Batista, Izolda Cremonine, Júlio Dias Gaspar, José Roberto Michelazzo, José Contreras Castilho, Madalena Conceição, Hélio Muniz, Wagner Cavalleiro, Rita Carvalho, Edivaldo Carvalho, Paulo Marchesan, Inês Costa. My special thanks also go to Isabel Segovia Charbonneau and Ken Charbonneau, Bob Diaz, Rafael Martinez, Maru Lopez, and my dear friends Samuel Sisneros and Veronica Casarez. I also thank the Center for Southwest Research, University Libraries, University of New Mexico, the Special Collections at The University of Arizona Libraries and the Centro Pastoral Vergueiro and the Arquivo Edgard Leuenroth at the Universidade Estadual de Campinas. My sincere thanks also go to Prof. Irene Vasquez and to Prof. Claudio Lomnitz. I also must thank Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) and Fulbright Commission for the scholarships that allowed me to research in Brazil and in the United States. Last but not the least, I would like to thank my family: my father, Celso Lima, my mother, Maria do Carmo Campos, my sister Ana Paula Campos Lima, my aunt and uncle Maria de Lourdes and Alvaro Ferraz, my mother-in-law Ondina Cardoso Giannella, my stepmother Ezenide Mastro Bueno, and my wife Andrea, who accompanied me to the belly of the monster. 1 RESUMO Este estudo analisa peças teatrais produzidas por grupos chicanos dos Estados Unidos entre as décadas de 1960 e 1980 e por grupos de teatro de trabalhadores do ABCD paulista nos anos 1970 e 1980. A perspectiva analítica aqui considerada enfatiza os fundamentos sociopolíticos e históricos de tais criações artísticas, em um esforço para relacionar formas e conteúdos aos contextos concretos de produção. Os grupos e obras selecionados mantiveram relações íntimas com sindicatos ou com movimentos da classe trabalhadora e lidaram com uma dialética de integração e não integração ao sistema econômico hegemônico. As novas tendências da militância política da esquerda a partir da década de 1960, que englobavam abordagens inovadoras para movimentos sindicais, partidos e religiosidade, foram elementos fortemente impactantes nas peças teatrais examinadas neste estudo. As formas teatrais desenvolvidas tanto pelos grupos chicanos El Teatro Campesino, La Compañía de Teatro de Alburquerque e Teatro Libertad e pelas trupes brasileiras da região do ABCD Teatro Ferramenta, Teatro Forja e Teatro Debate do ABC refletiram sua busca por recursos documentais capazes de denúncia social e por expressões artísticas que pudessem reconectá-las a formas culturais populares tradicionais. PALAVRAS-CHAVE Teatro Chicano; teatro dos trabalhadores; teatro épico; teatro de agitprop; teatro sindical 2 ABSTRACT This study analyzes theater plays produced by Chicano troupes in the United States between the 1960s and 1980s and by working-class theater groups in the ABC region of Brazil in the 1970s and 1980s. The analytical perspective considered emphasizes the sociopolitical and historical foundations of such artistic creations, in an effort to relate forms and content to the concrete contexts of production. The groups and works selected had intimate relations with labor unions or a working-class milieu and dealt with broad dialectics of integration and non-integration to the hegemonic economic system. The new tendencies of political militancy of the Left starting in the 1960s, which encompassed innovative approaches to labor union movements, parties, and religiosity, were heavily impacting elements of the theater plays examined within this study. The theatrical forms developed by both the Chicano groups El Teatro Campesino, La Compañía de Teatro de Alburquerque, and Teatro Libertad and the Brazilian troupes from the ABC region Teatro Ferramenta, Teatro Forja, and Teatro Debate do ABC reflected their search for documentary resources capable of social denouncement and artistic expressions that could reconnect them to ancient, popular, cultural traditions. KEYWORDS Chicano theater, working-class theater, Epic theater, Agitprop theater, Labor Union theater 3 SUMÁRIO Introduction ............................................................................................................................... 5 CHAPTER I: El Teatro Campesino................................................................................... 10 CHAPTER II: La Compañía de Teatro de Alburquerque ........................................... 32 CHAPTER III: Teatro Libertad ......................................................................................... 53 CHAPTER IV: Teatro Ferramenta ................................................................................... 74 CHAPTER V: Teatro Forja ................................................................................................. 93 CHAPTER VI: Teatro Debate do ABC .......................................................................... 114 Conclusion .............................................................................................................................. 133 List of References ................................................................................................................. 135 4 INTRODUCTION A few theatrical consequences of the fast transformation in Latin America After the Cuban Revolution in 1959, the United States launched a so-called “decade of maximum effort” towards Latin America. A new age in the relations between North and South begun that resulted in a massive investment of economic, political, and military power in the countries south of the Rio Grande River. As Eric Hobsbawm explains, the United States’ policy for the Latin American social problems—a strategy to prevent possible new revolutions—has failed to produce the projected results but secured for the U.S. corporations a stronghold on southern economies1. The gigantic amount of capital invested in Latin American countries in the 1960s, an estimated $ 3.3 billion USD between 1961 and 1968, the opening of U.S.
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