A atualidade de Shakespeare : um estudo sobre Romeu & Julieta do grupo Galpão

• Ano de defesa: 2017
• Autor(a) principal: Guerios, Aline Miriane
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual de Maringá; Brasil; Programa de Pós-Graduação em Letras; UEM; Maringá, PR; Centro de Ciências Humanas, Letras e Artes
• Palavras-chave em Português: Romeu e Julieta; Shakespeare, Willian; Teatro; Brasil; História; Teoria; Grupo Galpão; Brasil.; Romeo e Juliet; William Shakespeare; Galpão group; Brazil.; Linguística, Letras e Artes; Letras
• Link de acesso: http://repositorio.uem.br:8080/jspui/handle/1/4000

Considering the importance of the Bard s works, as William Shakespeare (1564-1616) is known, and the relevance of the Galpão group from Belo Horizonte - MG, in the Brazilian theatre s context, this dissertation has as its starting point the study of the Dramatic Literature and as its study object the analysis of Romeo & Juliet's production, analysing it regarding its form, content, language and criticism, which form the group s identity and which approach the Epic forms in the construction of their performances. This study is not unrelated to the field of Galpão s formation history (1982), which happened after the workshop with the German directors from the Freies Theater München - FTM (Free Theatre of Munich). Consequently, we will also give an overview of the modernization of theatre and the development of collective theatre practice in Brazil during 1920-1940 and the collective practises in Brazil in 1950-1960. We will analyse the aesthetics of Romeo & Juliet s production, conceiving its aesthetic path, its adaptation processes by the group from Minas and its decisive importance in the national culture panorama. We will use Galpão s Romeo & Juliet s video recordings performed at the Globe Theatre in London (2012). This study will necessarily take us through the history of the formation of the group and the influence of the German theatre; its aesthetic peculiarities and the social context the group is inserted in. For the part of the dramatic text, we will use Onestaldo de Pennafort s translation (1937), the adaptation by Cacá Brandão (2007) using the language of Guimarães Rosa s Grande Sertão: Veredas (1994) for the play s narrator creation; and Gabriel Villela s conception (1992) for the analysis of the staged play itself. From this, we know that Galpão's adaptation s success and its international recognition is an expression of its importance in the Brazilian theatre s history, which is discussed again in the country in the mid-1980-90s .