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Universidade Federal De Ouro Preto Instituto De Filosofia, Artes E Cultura Programa De Pós-Graduação Em Artes Cênicas Samir

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Universidade Federal De Ouro Preto Instituto De Filosofia, Artes E Cultura Programa De Pós-Graduação Em Artes Cênicas Samir UNIVERSIDADE FEDERAL DE OURO PRETO INSTITUTO DE FILOSOFIA, ARTES E CULTURA PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS SAMIR ANTUNES DA SILVA DA PRESENÇA DE TEATRALIDADES NA OBRA LITERÁRIA DOM QUIXOTE: entre imagens cênicas Ouro Preto 2018 SAMIR ANTUNES DA SILVA DA PRESENÇA DE TEATRALIDADES NA OBRA LITERÁRIA DOM QUIXOTE: entre imagens cênicas Dissertação apresentada ao Programa de Pós-Graduação em Artes Cênicas no Instituto de Filosofia, Artes e Cultura da Universidade Federal de Ouro Preto, como requisito para obtenção de grau de Mestre em Artes Cênicas. Linha de pesquisa: Estética, Crítica e História das Artes Cênicas Orientação: Profa. Dra. Neide das Graças de Souza Bortolini Ouro Preto 2018 A627p Antunes, Samir. Da presença de teatralidades na obra literária Dom Quixote [manuscrito]: entre imagens cênicas / Samir Antunes. - 2018. 204f.: Orientadora: Profª. MScª. Neide Souza-Bortolini. Dissertação (Mestrado) - Universidade Federal de Ouro Preto. Instituto de Filosofia, Arte e Cultura. Departamento de Artes Cênicas. Programa de Pós- Graduação em Artes Cênicas. Área de Concentração: Artes Cênicas. 1. Cervantes Saavedra, Miguel de, 1547-1616. Dom Quixote . 2. Artes cênicas. 3. Arte e literatura. I. Souza-Bortolini, Neide. II. Universidade Federal de Ouro Preto. III. Titulo. CDU: 792.01 Catalogação: www.sisbin.ufop.br DA PRESENÇA DE TEATRALIDADES NA OBRA LITERÁRIA DOM QUIXOTE: entre imagens cênicas Dedico esta dissertação ao meu filho Arthur, que tem proporcionado grandes aventuras em minha vida. Que possamos, juntos, assim como dom Quixote, vivenciar muitas mais. AGRADECIMENTOS À minha esposa, Juliana Alves de Melo, e ao meu filho, Arthur Antunes de Melo Aos meus pais, Nazareth Marta da Silva e Iraci Antunes Vilela Profa. Dra. Neide das Graças de Souza Bortolini – (Orientação) Universidade Federal de Ouro Preto Profa. Dra. Daisy Turrer – Universidade Federal de Minas Gerais Prof. Dr. Paulo Marcos Cardoso Maciel – Universidade Federal de Ouro Preto Profa. Dra. Elen de Medeiros - Universidade Federal de Minas Gerais Prof. Dr. André Carreira – Universidade do Estado de Santa Catarina Grupo Teatro que Roda: Dionísio Bombinha e Liz Eliodoraz Grupo Peripatéticos Dora Anchieta de Freitas (Revisão de tradução – espanhol-português) Estefânia C. Costa (Revisão textual) Cristiano J. Barros (Ilustrador da folha de rosto) Cleimar Menezes Batista Marilene Alves Fernandes Nogueira Programa de Pós-Graduação em Artes Cênicas da UFOP Universidade Federal de Ouro Preto Ao escritor Miguel de Cervantes Saavedra "Então, reunidos todos os que estavam na estalagem diante do palco, alguns de pé, outros sentados nos melhores lugares, como dom Quixote, Sancho, o pajem e o primo, o apresentador começou a dizer o que ouvirá e verá quem ouvir ou vir o capítulo seguinte." Miguel de Cervantes - Dom Quixote RESUMO Este estudo objetivou apresentar elementos de teatralidade na obra literária O Engenhoso Fidalgo Dom Quixote de la Mancha (1605 e 1615), do escritor espanhol Miguel de Cervantes. Para identificar tais elementos, são utilizados, além das noções acerca da teatralidade, pesquisas nas áreas da commedia dell'arte e do entremez Los Romances. Foram investigados aspectos da biografia de Miguel de Cervantes relativos à sua presença no teatro espanhol entre os séculos XVI e XVII. Tudo isso foi organizado a partir das imagens cênicas da obra Dom Quixote, levando-se em consideração os dois tomos. Os principais teóricos e pesquisadores que contribuíram para o desenvolvimento da pesquisa foram Josette Féral, José Sanchis Sinisterra, Marco Antônio Lopes, Amparo Juan Bolufer, Edwirgens de Almeida, Julio Vélez-Sainz, Héctor Urzáiz, Roberta Barni, Ramón Menéndez Pidal, Jean Canavaggio, Roger Chartier, André Carreira, entre outros. As teatralidades presentes em Dom Quixote são reconhecidas pela dimensão do olhar do leitor/espectador, inerente ao teatro, mediante a obra; pela construção literária cervantina, tendo como base as personagens e roteiros teatrais (canovaccio) da commedia dell'arte e, também, a dramaturgia do entremez Los Romances; e pela anacronia advinda da multiplicidade de gêneros literários que compõem as narrativas secundárias se entrecruzando à principal – dom Quixote e Sancho Pança. Foram considerados, ainda, nesta visada cênico-literária, os elementos autobiográficos que o próprio autor inseriu na história, tais como os desdobramentos da figura do narrador como personagem e autor, ou das demais personagens da obra. Tudo isso revela a construção cênica de Dom Quixote e sua forte presença no teatro da atualidade, inclusive há exemplificações de obras teatrais decorrentes dessa eminente literatura e do teatro contemporâneo, evidenciando a anacronia dessa obra. Palavras-chave: Teatralidade. Dom Quixote. Literatura. Imagens Cênicas. Miguel de Cervantes. RESUMEN Este estudio objetivó presentar elementos de teatralidad en la obra literaria El Ingenioso Hidalgo Don Quijote de la Mancha (1605 y 1615) del escritor español Miguel de Cervantes. Para identificar tales elementos, se utilizan, además de las nociones acerca de la teatralidad, investigaciones en las áreas de la commedia dell'arte y del entremez Los Romances. Se investigaron aspectos de la biografía de Miguel de Cervantes relativos a su presencia en el teatro español entre los siglos XVI y XVII. Todo ello fue organizado a partir de las imágenes escénicas en la obra Don Quijote tomando en consideración los dos tomos. Los principales teóricos e investigadores que contribuyen al desarrollo de la investigación fueron Josette Féral, José Sanchis Sinisterra, Marco Antônio Lopes, Amparo Juan Bolufer, Edwirgens de Almeida, Julio Vélez-Sainz, Héctor Urzáiz, Roberta Barni, Ramón Menéndez Pidal, Jean Canavaggio, Roger Chartier, André Carreira, entre otros. Las teatralidades presentes en Don Quijote son reconocidas por la dimensión de la mirada del lector/espectador, inherente al teatro, mediante la obra; por la construcción literaria cervantina, teniendo como base los personajes y guiones teatrales (canovaccio) de la commedia dell'arte y, también, la dramaturgia del entremez Los Romances; y por la anacronia proveniente de la multiplicidad de géneros literarios que componen las narrativas secundarias entrecruzándose con la principal – don Quijote y Sancho Panza. Se consideraron, además, en esta mirada escénico-literaria, los elementos autobiográficos que el propio autor insertó en la historia, tales como los desdoblamientos de la figura del narrador como personaje y autor, o de los demás personajes de la obra. Todo ello revela la construcción escénica de Don Quijote y su fuerte presencia del teatro en la actualidad, incluso hay ejemplificaciones de obras teatrales derivadas de esta eminente literatura y del teatro contemporáneo, evidenciando la anacronía de esa obra. Palabras-clave: Teatralidad. Don Quijote. Literatura. Imágenes Escénicas. Miguel de Cervantes. LISTA DE FIGURAS FIGURA 1 Dom Quixote ataca os moinhos de vento..................................................44 FIGURA 2 Segnor Pantalon e Zany Corneto............................................................125 FIGURA 3 Serenata...................................................................................................126 FIGURA 4 Dom Quixote músico...............................................................................130 FIGURA 5 Harlequin e Zany Corneto.......................................................................131 FIGURA 6 Loucuras de dom Quixote para Sancho..................................................132 FIGURA 7 Francatripa..............................................................................................133 FIGURA 8 Cavaleiro errante....................................................................................134 FIGURA 9 Limpando as armas.................................................................................137 SUMÁRIO PRÓLOGO ................................................................................................................ 12 1 HISTÓRIAS E NARRAÇÕES: CONFLUÊNCIAS TEATRAIS E LITERÁRIAS ................................................................................................................................... 17 1.1 A presença de Cervantes no teatro espanhol no séc. XVI .................................. 17 1.2 Dom Quixote visto a partir das noções de teatralidade ...................................... 29 1.3 Dom Quixote e o representar em Foucault ......................................................... 35 1.4 Do teatro à literatura .......................................................................................... 40 1.5 Romances de cavalaria - a voz de dom Quixote ................................................. 46 2 CERVANTES E DOM QUIXOTE: UMA HISTÓRIA ANACRÔNICA .............. 50 2.1 Narrativa Primária: o fio principal da história de dom Quixote e Sancho Pança ................................................................................................................................... 58 2.2 Narrativas Secundárias: diversas histórias interpoladas no enredo principal . 66 2.2.1 Romance pastoril: da Galatea à pastora Marcela .............................................. 69 2.2.2 O soldado Saavedra e o capitão Ruy Pérez em um romance bizantino ................ 73 2.2.3 A novela hispânica: o Curioso impertinente ....................................................... 81 2.2.4 As diversas vozes em Dom Quixote ..................................................................... 84 3 COMMEDIA DELL'ARTE E AÇÃO CÊNICA EM DOM QUIXOTE ...............
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