Detalhes bibliográficos
| Ano de defesa: |
2012 |
| Autor(a) principal: |
Fantini, Kelly Cristina
 |
| Orientador(a): |
Palo, Maria José |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Literatura e Crítica Literária
|
| Departamento: |
Literatura
|
| País: |
BR
|
| 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: |
https://tede2.pucsp.br/handle/handle/14696
|
Resumo: |
The objective of this dissertation is to recognize the concept of the tragic and the literary role in theatrical script of Toda nudez será castigada (1965), by the Brazilian playwright Nelson Rodrigues. It is intended to characterize the scripted text from the uniqueness of the word to the three-dimensionality of the performance of the word theater, covering many arts in staging: the dialogue, song, dance, music, painting, lighting, etc. In the multiplicity of the scene, we highlight the character and his dialogic speech to achieve the reading of the state of the dramatic hybris, combining actor and spectator by catharsis of passions. Following the thesis Sabato Magaldi (1962), we set the comparison between the tragedy of Racine and the one of Nelson Rodrigues, showing the tragic axis, between reason and passion, the intrigue of the characters in an act of interpretive and analytical approach between the classical and the modern. The difference between both is recognized by the "way" the director leads passion by mediating the dialog of the characters and by mirroring the tragic model of Phèdre of Racine. The recognition achieved by means of dialog has provided a methodological support and reconceptualization of the word rectified on the border of literary language and the performing language of the modern tragic drama of Rodrigues |
