Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
CORRÊA , Leiriane Teixeira
 |
| Orientador(a): |
Faro, Jose Salvador |
| Banca de defesa: |
Carrilho, Kleber,
Razuk, Eduardo |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Metodista de Sao Paulo
|
| Programa de Pós-Graduação: |
Comunicacao Social
|
| Departamento: |
Comunicacao Social:Programa de Pos Graduacao em Comunicacao Social
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://tede.metodista.br/jspui/handle/tede/1520
|
Resumo: |
This paper intends to analyze Brazilian musical theater’s development from the first national staging of vaudeville’s – a French genre – adaptations to musical blockbusters of American spectacles produced in the last sixteen years. Both historical and analytical overviews will be studied with emphasis on musical theater as media phenomena that make use of elements to be inserted within a society which perceives cultural productions as internationalized and Commodified. Producers utilize media notoriety of renowned, consecrated and well accepted international formats as well as the reputation of the actors designated to the musicals as a marketing strategy in order to attract sponsors. On the other hand, those sponsors end up making demands that interfere decisively on the spectacles’ assemblage. So where can the true Brazilian musical theater be found amidst a procedure full of demands and sponsors’ pre-established guidelines? The research embraces the originality of Brazilian themes being adapted to international formats and aggregates the sum of factors that enables a musical’s screenplay to actually get to the stages – such as tax incentive public policies, the musicals’ bondage with sponsor companies and their brands, and productions presenting non-popular box-office prices even though being funded with public money. Historical-descriptive methodologies focused on relations between the theme and notorious media elements – such as artists and titles to be adapted on stage – will be used in order to assist the formation of conjectures. |
