Hilda Hilst e a tradição moderna do teatro

• Ano de defesa: 2018
• Autor(a) principal: Leal, Cristyane Batista
• Orientador(a): Sousa, Heleno Godói de
• Banca de defesa: Sousa, Heleno Godói de, Machado, Maria Ângela de Ambrosis Pinheiro, Borges, Luciana, Camargo, Flávio Pereira, Faria, Zênia de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Letras e Linguística (FL)
• Departamento: Faculdade de Letras - FL (RG)
• País: Brasil
• Palavras-chave em Português: Hilda Hilst; Teatro; Absurdo; Crueldade; Lírica
• Palavras-chave em Inglês: Theatre; Absurd; Cruelty; Lyricism
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/9065

This study presents an interpretative reading of six plays by Hilda Hilst: The Company, The Rat in the Wall, The Auto of the Ship of Camiri, The Birds of Night, The New System, and The Patriarch’s Death, through theoretical assumptions of the Theater of the Absurd, especially those of Eugène Ionesco, and the Theatre of Cruelty, of Antonin Artaud. These plays have in common the distance, at different levels, which they establish in relation to the traditional forms of development and resolution of the dramatic conflicts, configuring themselves as static dramas. Considering the fact that it is an essentially lyrical theater, this study sees lyricism as a style that contributed to the constitution of Modern Arts, with an emphasis on the Symbolist theater of the end of the 19th century, bringing the Hilstian theater closer to the Theater of the Absurd of the XX century and locating its marginality in the Brazilian theater because of its distance from the Brechtian and realistic aesthetics that, at the time of its writing, was predominant in the Brazilian scene.The peripheral situation of Hilda Hilst’s theater here is presented because of the very place that theatrical culture occupies in Brazil, always at a disadvantage if compared to other arts. The singularity of her theater rests in its slippage between dramatic, lyrical and absurd categories, revealing the consciousness of incommunicability and the inability of the hero-poet to ensure human integrity in the eternal totalitarian social systems, hence their approach to the Artaudian Theater of Cruelty. Yet, imploding reality by abstract choices of character composition, action, time and space, the Hilstian dramas present themselves as a resilient and conscious response to the social collapse resulting from human deterioration.