Flávia Domitila Costa Morais O Teatro Elisabetano Como Ativismo Sociocultural

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Flávia Domitila Costa Morais O Teatro Elisabetano Como Ativismo Sociocultural FLÁVIA DOMITILA COSTA MORAIS O TEATRO ELISABETANO COMO ATIVISMO SOCIOCULTURAL Tese apresentada ao Programa de Pós-Graduação em Artes do Instituto de Artes da Universidade Estadual de Campinas - UNICAMP para obtenção do título de Doutor em Artes. Orientador: Prof. Dr. João Francisco Duarte Júnior. UNICAMP 2008 i FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Morais, Flávia Domitila Costa. M792t O teatro elisabetano como ativismo sociocultural. / Flávia Domitila Costa Morais. – Campinas, SP: [s.n.], 2008. Orientador: Prof. Dr. João Francisco Duarte Júnior. Tese (doutorado) – Universidade Estadual de Campinas. Instituto de Artes. 1. Teatro inglês. 2. Era elisabetana. 3. Episteme. 4. Arte. 5. Sociedade. 6. Cultura. I. Duarte Júnior, João Francisco. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em ingles: “The Elizabethan Theatre as a sociocultural activism.” Palavras-chave em inglês (Keywords): English theatre ; Elizabethan Age ; Episteme ; Art ; Society ; Culture. Titulação: Doutor em Artes. Banca examinadora: Prof. Dr. João Francisco Duarte Júnior. Profª. Drª. Verônica Fabrini Machado de Almeida. Profª. Drª. Sara Pereira Lopes. Prof. Dr. Marcos Ferreira dos Santos. Prof. Dr. Severino Antônio Moreira Barbosa. Prof. Dr. Valério José Arantes (suplente) Prof. Dr. Doris Accioly e Silva (suplente) Data da defesa: 11-12-2008 Programa de Pós-Graduação: Artes. ii iii Dedicatória No palco do mundo deparamo-nos com personagens inúmeras que, de uma forma ou de outra, marcam nossas vidas. Na riqueza desta multiplicidade está o tesouro do viver. Dedico este trabalho àqueles que têm feito de minha existência um caminho cheio de sensibilidade e arte. A meus pais João Francisco Regis de Morais e Maria Lúcia Costa Morais; a meus irmãos Luís Sérgio Costa Morais e David Costa Morais; e ao querido Paulo Roberto Dipe. v Agradecimentos Quero expressar meu agradecimento ao Prof. Dr. João Francisco Duarte Júnior, orientador desta tese, ao qual me sinto extremamente devedora em razão da dedicação com que acolheu e acompanhou o desenvolvimento desta pesquisa. Igualmente agradeço à Profa. Dra. Sara Lopes pela inestimável contribuição em termos de indicações de fontes de pesquisa e, sobretudo, pelas demonstrações de amizade e incentivo. Agradeço a meu pai, Regis de Morais, que amorosamente acompanhou todos os passos rumo à conclusão deste trabalho, oferecendo, sempre, muito do que sua sensível inteligência poderia oferecer em termos de uma leitura crítica, porém de inestimável valor, tanto acadêmico quanto afetivo. Quero agradecer igualmente aos membros componentes da Banca Examinadora e a todos aqueles que, direta ou indiretamente, contribuíram para a concretização desta pesquisa. vii “All the world’s a stage” William Shakespeare ix RESUMO A presente pesquisa objetivou realizar um estudo voltado para o período elisabetano (Renascimento inglês), neste focalizando a arte teatral como das mais fortes expressões de arte, sociedade e cultura. Nosso foco de problematização está na análise de até que ponto o teatro elisabetano teve participação efetiva na transição de uma visão de mundo marcada pela episteme medieval, para uma cosmovisão renascentista. Michel Foucault, com seu conceito de episteme, ajudou-nos a estabelecer as bases teóricas para a compreensão de uma realidade desde suas estruturas mais profundas até a emergência de um sujeito autônomo a representar-se nos palcos e a fazer vibrar nas mentes e nos corações do público novas metas para a expressão humana. Buscamos afirmar a tese de que o teatro elisabetano, com suas caracterizações específicas, significou uma das forças de formação de uma nova visão antropológica e também cosmológica. Nossos objetivos desejaram realmente contemplar as convergências entre a arte, a cultura e a sociedade em um determinado segmento da história inglesa, o qual tem indiscutível importância para compreendermos a linha essencial de desenvolvimento das artes cênicas nos tempos posteriores. Demonstramos, através de seus temas, imagens, e principalmente da linguagem, os novos valores tanto individuais como socioculturais, por aglutinação, que esta arte ajudou a formar, ou antes, consolidou por meio de suas peças de talhe e temática crescentemente inovadores. Assim, buscamos argumentar acerca do ativismo sociocultural em que consistiu o teatro inglês renascentista. Palavras-chave: teatro inglês – era elisabetana – episteme – arte – sociedade – cultura. xi ABSTRACT The following research aimed to achieve a study about the Elizabethan Age (English Renaissance), focusing its theatrical art as one of the most important expression of art, society and culture. The focus of our discussion is in the analysis of the Elizabethan theatre participation in the effective transition from a world view marked by the medieval episteme to the new Renaissance world view. The French philosopher Michel Foucault, with his concept of episteme, helped us to establish the theoretical basis to the comprehension of a reality from its deepest structures till the emergency of an autonomous subject representing himself in the stage, and vibrating, in the hearts and minds of the public, new aims for human expression. Along this research, we affirm the thesis that the Elizabethan theatre, with its specific characterizations, signified one strong formation power of a new anthropological and cosmological view. Our objectives desire to contemplate the convergencies among art, culture and society in a specific historic moment of the English nation, which has unquestionable importance when we want to understand the essential development of the dramatic art in later times. We demonstrated, through its themes, images and mainly its language, the new individual and sociocultural values that the Elizabethan theatrical art helped to form, or better saying, consolidated through its innovative plays in terms of themes and specific characteristics. We aimed to argue on the sociocultural activism of the English Renaissance theatre. Keywords: English theatre – Elizabethan age – episteme – art – society – culture. xiii LISTA DE FIGURAS Figura 1 - Boca do Inferno com Adão, Eva e os Patriarcas. Face lateral de um cadeiral do coro de Valenciennes, século XIV........................................................................................... 64 Figura 2 - Boca do Inferno de uma peça mitológica barroca, apresentada num carro alegórico do Préstito dos Deuses em Dresden, 1695................................................................................ 65 Figura 3 – Boca do inferno................................................................... 65 Figura 4 - Pageant wagon de Bruxelas. A Anunciação – Victoria and Albert Museum, Londres…………………………………. 66 Figura 5 - Pageant wagon de Bruxelas. A Natividade – Victoria and Albert Museum, Londres................................................. 66 Figura 6 – Figuras do teatro medieval.................................................. 67 Figuras 7-8 – Imagens que ilustram o esquema de organização dos ciclos de Mistérios Medievais............................................................... 68 Figura 9 - Palco de Valenciennes. O Mystère de la Passion, apresentado em 1547........................................................................... 69 Figura 10 - The Magi – Apresentações contemporâneas dos ciclos medievais………………………………………………………………… 75 Figura 11 - The Townley, Noah, 1988. Apresentações contemporâneas dos ciclos medievais............................................................................ 76 Figura 12 - York, The Nativity and The Adoration of the Shepherds, 1988. Apresentações contemporâneas dos ciclos medievais……… 76 Figura 13 - Chester Mystery Play. Imagem extraída da primeira edição do Book of Days by Robert Chamber…………………………………… 81 Figura 14 - Cena do ecce homo, representada num carro-palco inglês. xv Pilatos em seu trono: à esquerda, a coluna do flagelo e o servo com a bacia d’água......................................................................................... 83 Figura 15 – Esquema de apresentação de The Castle of Perseverance......................................................................................... 88 Figura 16 - Cidade de Londres durante o reinado dos Tudor............. 130 Figura 17 - Localização das principais casas de espetáculo teatral na Londres do tempo de Shakespeare................................................ 132 Figura 18 - ilustração da estrutura da maior parte dos teatros elisabetanos.......................................................................................... 141 Figura 19 - Figura ilustrativa do Bear-Ring – predecessor do teatro Hope.......................................................................................... 142 Figura 20 - Figura ilustrativa do Theatre elisabetano.......................... 142 Figura 21 - Gravura de Claes Van Visscher – mapa de Londres em 1616............................................................................................... 143 Figura 22 - O novo Teatro Globe – Londres........................................ 144 Figura 23 - Reconstrução contemporânea do Globe Theatre............. 146 Figura 24 - O novo Globe Theatre – 1999.......................................... 147 Figura 25 - Inn-yard elisabetano......................................................... 148 Figura 26 - 1595 – Teatro Swan......................................................... 149 Figura 27 - 1600 – Teatro Fortune....................................................
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