Detalhes bibliográficos
| Ano de defesa: |
2021 |
| Autor(a) principal: |
Cabral, Judson Forlan Gonzaga
 |
| Orientador(a): |
Chaia, Miguel Wady
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Ciências Sociais
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| Departamento: |
Faculdade de Ciências Sociais
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| 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: |
https://repositorio.pucsp.br/jspui/handle/handle/24329
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Resumo: |
This research seeks to analyze the political dimension of the theater in the light of the artistic practices of theater groups, placed between freedom and political institutionality. In this sense, the object of study is focused in the Municipal Law nº 13.279, of January 8, 2002 (Municipal Law for the Promotion of Theater for the city of São Paulo). The delimitation sought to evaluate this specific public policy in its capacity to encourage conditions for the exercise of a certain autonomy on the part of the group’s theatrical artistic practice. It is understood that the public incentive allowed that diverse theatrical activities, from research to production and presentation of shows, could be carried out outside the functioning of capitalist production, instead guided by a production of a space-time as well as subjectivities that refuse such a model. Therefore, it reflects on the Law as means that created conditions for processes to be instituted and through them unique, autonomous gestures, to be created, that is, gestures that managed to mark their own temporality and affirm a different existence today. In this way, three theater companies operating in the São Paulo scenario were selected, namely: Brava Companhia, Companhia Antropofágica and Coletivo Negro; as an expression of the importance of the Law, and indicators of its impacts |
