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ARTISTIC EXPLOITATION OF UNIFYING THEMES IN THE CONTEMPORARY BRAZILIAN PROTEST THEATER Item Type text; Dissertation-Reproduction (electronic) Authors Butler, Ross Erin, 1939- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 21:16:52 Link to Item http://hdl.handle.net/10150/287830 72-11,973 BUTLER, Jr., Ross Erin, 1939- ARTISTIC EXPLOITATION OF UNIFYING THEMES IN THE CONTEMPORARY BRAZILIAN PROTEST THEATER. The University of Arizona, Ph.D., 1972 Language and Literature, modern University Microfilms, A XEROX Company, Ann Arbor, Michigan (g) COPYRIGHTED BY ROSS ERIN BUTLER, JR. 1972 iii TfflS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED ARTISTIC EXPLOITATION OF UNIFYING THEMES IN THE CONTEMPORARY BRAZILIAN PROTEST THEATER Ross Erin Butler, Jr. A Dissertation Submitted to the Faculty of the DEPARTMENT OF ROMANCE LANGUAGES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Ross Erin Butler, Jr. entitled ARTISTIC EXPLOITATION OF UNIFYING THEMES IN THE CONTEMPORARY BRAZILIAN PROTEST THEATER be accepted as fulfilling the dissertation requirement of the degree of Doctor of Philosophy —- (&tf. P-7) t I# Dissertation Director Date J '/ After inspection of the final copy of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:"" Lf/6 Lj / o— -i *7 - 7 ( _ / — /o " ^ " 7/ -</juo ^ > - p / "This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination. PLEASE NOTE: Some pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS. v rut—• ... ...... STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED PREFACE Brazil has produced some of the most outstanding pieces of literature in Latin America but has been almost universally ignored by scholars who believe that Portuguese-speaking America has little of literary value to contribute. Admittedly, Brazil and the rest of Latin America lack the lengthy traditions of their European parents. Nevertheless, repeated visits and residence in these nations have convinced me that the Americas, and especially Brazil, have a youthful vigor and vitality in their body of literature which cannot be ignored by serious scholars except at the risk of a great loss to international letters. In the area of drama Brazil has, until recent years, shown little promise although her prose and poetry have enjoyed a respectable degree of recognition. The last two decades have witnessed a revival of the Brazilian theater particularly in two important areas: socially aware theater and children's theater. This work studies the former in an effort to gain insight into the Brazilian character and, ultimately, the Brazilian culture. In turn, this should help shed light on the approach necessary to an understanding of the literature of Brazil. Although a specialist in Spain's Golden Age, I became interested in Brazilian letters in the mid-Sixties while attending classes of Brazilian literature at the University of Oregon. This led to a Summer's stay in Brazil in 1968 where I became aware of the dynamic protest movement in the theater. Another trip to Brazil in iv 1971 for research culminated my study of Brazilian literature at The University of Arizona. To the best of my knowledge very little research has been done in the Brazilian theater critical of social problems. Much investigation remains not only in this field but in all aspects of the contemporary Brazilian theater. I wish to acknowledge the generous co-operation of Plinio Marcos, Oduvaldo Vianna Filho, Fernando Melo, Barbara Heliodora, and numerous other playwrights, actors, directors, and critics whose assistance was invaluable. This dissertation was made possible by a University of Arizona Pre-doctoral Fellowship. October, 1971 TABLE OF CONTENTS Page ABSTRACT vii 1. INTRODUCTION 1 2. HUMOR lU 3. DEVOTION 51 U. MUSIC 71 5. JEITO 101 6. NORTHEAST 118 7. THE GOOD LIFE 125 Women 125 Ostentation 129 Cachaga . • 139 Futebol 1^3 Jogo 7 1^-8 Fei.jao . 150 Caf^zinho 151 Lazer , 152 Bate-papo . 156 8. SAUPADE 16k 9. ANTI-AUTHORITY 168 Anti-police 168 Anti clericalism 175 10. PLINIO MARCOS . 182 11. CONCLUSION . 233 LIST OF REFERENCES 239 vi ABSTRACT There exist specific, definable characteristics common to most all Brazilians which promote a sense of oneness. In its totality this unity, capable of overstepping political and social barriers, produces a composite picture of "brasilidade" or, "Brazilianess." Politicians, artists, and literary people of Brazil have recognized these common, unifying elements and have exploited, them, from time to time, to rally the people and gain their support. Playwrights of dramas critical of social, political, economic, and religious problems have presented strong messages which have been surprisingly well accepted principally because of the authors' utilization of these very Brazilian elements. The decade of the Sixties witnessed a great explosion of social protest theater in Brazil against a background of the Revolution of 196U and the Fifth Institutional Act of 1968. The events of these two years gave playwrights much of which to be critical in addition to the national problems of poverty, land, inaction, lack of education, etc. Numerous plays from that decade can be examined for the Brazilian elements used to "sweeten" the authors' strong messages and make them palatable to the Brazilian public. Among the most popular elements exploited are the Brazilians' keen love of humor, their intense sense of devotion, and their very unique taste in music—the basic samba rhythm and its ultimate manifestation, Carnaval. The most truly Brazilian area of the country, the Northeast, forms the background for vii viii many protest plays which also use the area's history, traditions, customs, costumes, and language to arouse the audience's sense of "brasilidade." Deep-rooted national characteristics and institutions abound in the protest theater—the Brazilians' unique .jeito, their keen interest in women, their ostentation, the abundant use of cachaga, the intense love of futebol and the ,jogo, the fei.jao and cafezinho, their desire for lazer and bate-papo, the very recognizable Brazilian saudades, and their antipathy towards civil and religious authority. An examination of several plays by Pllnio Marcos, the "patriarch" of the young, critical playwrights, reveals that he uses most of the above mentioned elements, especially in his latest plays. He recognizes that his strong, bitter message would have little appeal if presented straight. His theater could take a different direction if his latest play Balbina de Iansa succeeds. This drama uses the Brazilian elements in great profusion together with a message that is not so forceful as in previous plays. Brazilian protest dramas of recent years help reveal the Brazilian as a distinct character whose values, personality, and institutions contribute to the Brazilian mystique. Recognizing this, playwrights have applied the formula of Machado de Assis, the dean of Brazilian letters, who spoke of his style or form as the cup which contained the bitter liquid of his life. The cup of the socially critical playwrights, their dramas, has been made pleasingly ornate for the Brazilian people but contains a very bitter liquid. The sweetened message can be made palatable because Brazil is a yet developing ix culture of very human emotions and values rather than abstract ideas which would have little appeal to the people. CHAPTER 1 INTRODUCTION The contemporary Brazilian protest theater has an unusually popular appeal with the masses. This phenomenon, observed by the author during two stays in Brazil, has its roots in certain facets of the Brazilian character which the playwrights of that country know well. The Brazilian, a complex individual, shares with his countrymen traits that are distinctive and sometimes easy for a foreign resident to recognize. It is the recognition of these elements which permits the authors of that country to produce plays which have a unifying effect on the people. Perhaps Americans can better understand something of the Brazilian character by drawing a comparison between the effect of the comparable theater in this country, and Brazil. Two successes in recent years in this country are the dramatic play Hair and the musical Jesus Christ: Superstar. Both plays represent a sharp departure from what the average American would call "ordinary" theater or familiar norms recognized by the "establishment" minded masses. The success of these two dramas depended largely on a more liberal public than the American people in general represent. One can hardly envision the average American man or woman, politically moderate, reasonably religious, and quite family oriented, making up the bulk of the 1 2 audience in either play. It was the same man and woman who made Gone with the Wind and Sound of Music the largest money-making films in the history of motion pictures.
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    sexta-feira, 9 de abril de 2010 Diário Ofi cial da Cidade de São Paulo São Paulo, 55 (65) – 41 260 ROSEMARY RIMONATO MATTOS 0010363749 EMEF LUIZ EDUARDO MATARAZZO, CDE. EMEFM DERVILLE ALLEGRETTI, PROF. CEU EM CEU EMEF CESAR ARRUDA CASTANHO, DEP. EMEFM GUIOMAR CABRAL 29 CAROLINA FERRUCCI MONCAO 0304636381 96 FELIPE MIGUEL LAUAND TP 0015839316 70 FABRIZIO RAMOS TOVANI 0420049228 12 PALOMA TAVARES FERREIRA 0400320824 160 MARIANA MITTI SAKATA SALES 0435001425 EMEF HELENA LOMBARDI BRAGA, PROFA. 97 EDE CONCEICAO BISPO CERQUEIRA 0796248478 60 DIEGO LAUDANO ROCHA 027601716X EMEF MARIA ALICE BORGES GHION, PROFA. 60 SILENE PEREIRA GOULART BEXIGA 0154033133 100 CRISTINA DE JESUS MORAES 0434112276 EMEF JARDIM DA CONQUISTA 78 ANA PAULA LEMOS TOME 0277394624 EMEF HELIO FRANCO CHAVES, CEL. EMEF DAISY AMADIO FUJIWARA, PROFA. 35 ZENAIDE DA CONCEICAO DA CRUZ 0302214707 EMEF PEDRO NAVA 4 ANDERSON DA COSTA E SILVA GRECCO 0264047928 188 ANA CAROLINA BEZERRA DE MELO COS TP 0648310272 EMEF JULIO DE OLIVEIRA 93 MARILIA SCHLESINGER AMORIM 0231024472 EMEF JOAO DOMINGUES SAMPAIO EMEF EDA TEREZINHA CHICA MEDEIROS, PROFA. 22 FELIPE GODINHO MOREIRA 027329233X 152 RUBENS SILVA DE MOURA 0207551832 104 MARIA CRISTINA DE JESUS NOVAES 0020312321 90 MARCELO LUIZ PEREIRA 0454937131 EMEF LIBERATO BITTENCOURT, GEN. EMEF ROBERTO MANGE, PROF. EMEF MAXIMO DE MOURA SANTOS, PROF. EMEF IBRAHIM NOBRE 28 MARCELO BERNARDES LOYOLA 0229288339 90 LUCIANA MARTIN KANAWATI 0436779584 91 DOUGLAS TOMAZ DE AQUINO 00M7876443 92 ARIAM JOSE FERREIRA DE CASTILHO TP 0288318067 EMEF MARIO KOSEL FILHO 132 MARIA JOSE ABRAO 0291703446 112 SIMONE MARIANA MARTINS DOS SANTO 023303805X 216 MARCELA DE PAOLIS TP 0442589876 91 CHRISTIANE SECCOMANDI BISPO TEIX 0321684217 EMEF SOLANO TRINDADE EMEF NOE AZEVEDO, PROF EMEF ILEUSA CAETANO DA SILVA, PROFA.