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Universidade Estadual De Campinas Instituto De Estudos Da Linguagem UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM ESTHER MARINHO SANTANA DRAMATURGIAS DE ASSALTO: THE ZOO STORY E A “GERAÇÃO DE 69” CAMPINAS, 2020 ESTHER MARINHO SANTANA DRAMATURGIAS DE ASSALTO: THE ZOO STORY E A “GERAÇÃO DE 69” Tese de doutorado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Doutora em Teoria e História Literária, na área de Teoria e Crítica Literária. Orientador: Prof. Dr. Antonio Alcir Bernárdez Pécora Este exemplar corresponde à versão final da Tese defendida pela aluna Esther Marinho Santana e orientada pelo Prof. Dr. Antonio Alcir Bernárdez Pécora. CAMPINAS, 2020 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Estudos da Linguagem Leandro dos Santos Nascimento - CRB 8/8343 Santana, Esther Marinho, 1987- Sa59d SanDramaturgias de assalto : The Zoo Story e a "Geração de 1969" / Esther Marinho Santana. – Campinas, SP : [s.n.], 2020. SanOrientador: Antonio Alcir Bernárdez Pécora. SanTese (doutorado) – Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. San1. Albee, Edward, 1928-2016. Crítica e interpretação. 2. Teatro (Literatura) - História e crítica. 3. Teatro - Estados Unidos. 4. Teatro - Brasil. I. Pécora, Antonio Alcir Bernárdez. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em outro idioma: Dramaturgies of assault and theft : The Zoo Story and the 1969 Generation Palavras-chave em inglês: Albee, Edward, 1928-2016. Criticism and interpretation Drama - History and criticism Theater - United States Theater - Brazil Área de concentração: Teoria e Crítica Literária Titulação: Doutora em Teoria e História Literária Banca examinadora: Antonio Alcir Bernárdez Pécora [Orientador] Orna Messer Levin Mayumi Denise Senoi Ilari Martha de Mello Ribeiro Welington Wagner Andrade Data de defesa: 23-11-2020 Programa de Pós-Graduação: Teoria e História Literária Identificação e informações acadêmicas do(a) aluno(a) - ORCID do autor: https://orcid.org/0000-0003-1370-6304 - Currículo Lattes do autor: http://lattes.cnpq.br/2277445498006600 Powered by TCPDF (www.tcpdf.org) BANCA EXAMINADORA Antonio Alcir Bernárdez Pécora Orna Messer Levin Mayumi Denise Senoi Ilari Martha de Mello Ribeiro Welington Wagner Andrade IEL/UNICAMP 2020 Ata da defesa, assinada pelos membros da Comissão Examinadora, consta no SIGA/Sistema de Fluxo de Dissertação/Tese e na Secretaria de Pós Graduação do IEL. « C'est une image vraie, née d'un spectacle faux. » (Jean Genet) For Eric, … who would often quote Jerry. (In memoriam) AGRADECIMENTOS “Grande proveito nessa travessia”, desejou-me Antonio Bivar, referindo-se aos meus estudos (mas não só), durante o que não desconfiávamos ser a nossa última conversa, pouco antes de seu falecimento. Foram mesmo aproveitados com alegria os anos de escritura da tese, malgrado as tantas fraturas surgidas pelo caminho, iniciado no conturbado 2016, e concluído no hediondo 2020. Deixo os meus agradecimentos para todos aqueles que contribuíram para uma melhor trajetória. Em especial, Ao Prof. Dr. Alcir Pécora, pela acolhida do projeto, e pela liberdade para que eu desenvolvesse as minhas ideias, sob uma orientação sempre muito precisa e perspicaz. Ao Prof. Dr. Eric Mitchell Sabinson, por ter me formado como leitora e pesquisadora; e por ter sido um amigo tão espinhoso quanto afável, que deveria ter chegado até aqui. Ao Professor David Savran, pela supervisão e pelas valiosas sugestões de estudo durante o estágio de pesquisa no Martin E. Segal Theatre Center da City University of New York. À Profa. Dra. Mayumi D. Senoi Ilari e à Profa. Dra. Orna Messer Levin, pela consideração mostrada em diferentes momentos da minha trajetória acadêmica, e por suas contribuições criteriosas durante o exame de qualificação, bem como, posteriormente, na defesa da tese – enriquecida também pelas leituras da Profa. Dra. Martha de Mello Ribeiro e do Prof. Dr. Welington Andrade. Agradeço a todos pelo felicíssimo debate. Aos colegas da Edward Albee Society, sobretudo ao Professor David Crespy e ao Professor John Clum, pela confiança e estímulo às minhas atividades. Ao Jakob Holder, diretor da Albee Foundation, pelo acesso aos papeis restritos de Edward Albee. À Prof. Dra. Suzi Sperber, pela parceria inicial; e, então, pela compreensão. Ao Professor Marvin Carlson, pela interlocução durante a minha estadia no Graduate Center da CUNY, e pela recepção em suas aulas, verdadeiras preciosidades para os estudiosos de teatro. Ao Professor Frank Hentschker, pelo suporte dado aos Segal Fellows, e pela criação de um ambiente dos mais inspiradores para os pesquisadores. Aos Segal Fellows, pelas mesas redondas e discussões, durante as quais tanto aprendi. Em particular, à Gabriela Rodríguez e ao Hanchen Feng, pelas aventuras teatrais, culinárias e existenciais, a gênese de uma amizade que hoje atravessa continentes. Ao Professor Matthew Roudané, pelo diálogo revigorante. Àqueles cuja prestatividade animou, ao longo dos anos, os espaços essenciais para o desenvolvimento do meu trabalho: Aos funcionários da Secretaria de Pós-Graduação do IEL, Cláudio, Raíça, Miguel e Rose. Aos funcionários das bibliotecas da UNICAMP. Aos funcionários da Biblioteca Jenny Klabin Segall, do Arquivo Multimeios do Centro Cultural São Paulo, e do Arquivo Público do Estado de São Paulo. Aos funcionários da Billy Rose Collection e do Theatre on Film and Tape Archive, da New York Public Library for the Performing Arts. Ao tecido humano que um texto acadêmico não comporta: Ao Antonio Bivar e à Leilah Assumpção, pelas conversas, tão generosas e divertidas. Às irmãs e ao cunhado de José Vicente, Maria Antônia Morais, Cida Morais e Osmar Pasetto, por terem dividido comigo um pouco do “Zé”. Ao George Bartenieff, pelos belos retratos de sua participação como Peter na The Zoo Story de Alan Schneider, e de sua Nova York sessentista. Ao Emílio Fontana, por ter escavado as suas lembranças, e à Crys Fontana, por ter intermediado o nosso encontro. Ao meu pai, Ailton, e à minha mãe, Neusa, por tanto amor, e pelas várias formas como sempre me amparam e me fortalecem. À Angelina, por me motivar a acreditar em outros amanhãs. Ao Thiago e à Inara, pela densidade e pela leveza. À Selma e ao Luís, pelo carinho. Ao Luca, pelo nosso dia-a-dia solar, cheio da sua compreensão, do seu encorajamento e (que sorte a minha!) do seu bom humor. Aos colegas da pós-graduação e aos amigos de longa data – especialmente ao Alexandre Assine, à Mariana Pini e ao Rogério de Melo Franco, à Gabriella Hollas, e ao Felipe Furlanetto - pelos ombros para desabafos, pela disposição para entrar em furadas e pelas doses de “mo(r)tivação”. Ao Conselho Nacional de Desenvolvimento Científico e Tecnológico (CPNq), pelo fomento imprescindível para a minha dedicação ao doutorado, concedido por quatro anos, em meio ao desmantelamento da agência pelas políticas de obscurantismo e esterilidade do atual governo federal. (Processo 140361/2016-2) ACKOWLEDGEMENTS “May you relish this journey”, wished me Antonio Bivar, referring to my studies (but not only), during what we did not imagine would end up being our last conversation before his death. Despite all the fractures, this writing process – started in the turbulent year of 2016, and concluded in the hideous 2020 - was truly joyful. To all of those who contributed to a better route (and who will read these words in English, that is), here is my deepest gratitude. To Professor David Savran, for receiving me as a Visiting Scholar and for offering me precious study suggestions during my period at the Martin E. Segal Center at City University of New York. To all my colleagues of the Edward Albee Society, especially Professor David Crespy, and Professor John Clum, for trusting in my potential and for supporting my activities. To Jakob Holder, director of the Albee Foundation, for granting me access to Edward Albee’s restricted papers. To Professor Marvin Carlson, for being such a generous interlocutor at the Graduate Center, and for kindly welcoming me into his classes, true gems for theatre lovers. To Professor Frank Hentschker, for all the support offered to the Segal Fellows, and for creating such an inspired and inspiring ambiance for researchers from all over the world. To all the Segal Fellows, for teaching me so much during our roundtables and discussions. In particular, muchísimas gracias, namorida Gabriela Rodríguez, 非常感谢你 Hanchen Feng, for all the theatrical, culinary and existential adventures, which helped to shape this friendship that now crosses continents. To Professor Matthew Roudané, for our greatly invigorating dialogue. To George Bartenieff, for sharing with me his beautiful recollections as Peter in Alan Schneider’s The Zoo Story, as well as his moving memories of his very own 1960s New York. To the staff of the Billy Rose Collection and the Theatre on Film and Tape Archive, at the New York Public Library for the Performing Arts, for their pivotal assistance. (There I collected bibliographical notes, and amusing, priceless anecdotes started with a shy “You know, there was this time when Mr. Albee…”) RESUMO Desde a estreia de O assalto; Fala baixo, senão eu grito; e O cão siamês, em 1969, José Vicente, Leilah Assumpção e Antonio Bivar foram aproximados pela crítica teatral. Nomeados por Sábato Magaldi de “A Nova Dramaturgia Brasileira”, e frequentemente também chamados de “Geração de 69”, tais dramaturgos apresentariam diversas similaridades formais e temáticas, atribuídas a uma suposta influência de The Zoo Story, de Edward Albee. Estreada em 1960, em Nova York, a peça se tornou um ícone internacional do período, e, atualmente, é quase ignorada pela cena artística brasileira. Assim, em um primeiro polo, o estudo investiga a sua trajetória nos palcos de São Paulo e do Rio de Janeiro na década sessentista, resgatando as diversas montagens do título, bem como as suas respectivas fortunas críticas imediatas, para compreender o seu impacto no horizonte cultural local. Em um segundo polo, a tese adota como hipótese que as quatro obras podem ser colocadas lado a lado, iluminando-se mutuamente, a partir da ideia de uma “dramaturgia de assalto”.
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