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Full Description
How did Brazilian theater survive under the military dictatorship of 1964-1985? How did it change once the regime was over? This collection of new essays is the first to cover Brazilian theater during this period. Brazilian scholars and artists discuss the history of a theater community that not only resisted the regime but reinvented itself and continued to develop more sophisticated forms of expression even in the face of competition from television and other media.
The contributors recount the struggle to stage meaningful plays at a time when some artists and intellectuals were exiled, others imprisoned, tortured or killed. With the return of democracy other important issues arose: how to ensure space for different practices and for regional theater, and how to continue producing international plays that could be meaningful for a Brazilian audience.
Contents
Table of Contents
Acknowledgments
Introduction (Eva Paulino Bueno and Robson Corrêa de Camargo)
I. Establishing Historical Markers
Weaving the Narrative of the Construction of the History of Brazilian Theater in the 1970s (Jacó Guinsburg and Rosangela Patriota)
Factory Workers on Stage: The Creation of Grupo de Teatro Forja in São Paulo's Industrial Region (Tin Urbinatti)
History and Stories of Animation Theater in Brazil, 1970-2010 (Wagner Cintra)
For the Future of a History of the Theater in Rio Grande do Sul (Taís Ferreira)
Children's Theater in Brazil: History, Pedagogy and Art (Leny Fernandes Zulim)
Moments of Street Theater in Brazil: A Brief Historical Review (Licko Turle and Jussara Trindade)
Family-Circus, Theater-Circus: It Is Theater in the Circus (Erminia Silva)
II. Practices and Experiments
Imbrication of Art and Politics: Group Theater in the City of São Paulo and Movements Against Barbarism (Alexandre Mate)
The Sound and Meaning of Accents: A Study of the Paraíba Case (Adriana Fernandes)
Melodrama and Companhia dos Atores of Rio de Janeiro: New Dramatic Forms for an Old Genre (Robson Corrêa de Camargo)
Hybrid Aesthetic Identity in Capitão e a Sereia by the Group Clowns de Shakespeare in Rio Grande do Norte (Erlon Cherque Pinto)
Shared Memories in a Brasília Drama (Rita de Almeida Castro)
Beckett with Curupira Feet: Group Máskara, Readings and Receptions to Beckett in the Interior of Brazil (Eduardo José Reinato)
About the Contributors
Index
