'Olha a gota que falta': um evento no campo artístico-intelectual brasileiro (1975-1980)

• Ano de defesa: 2010
• Autor(a) principal: Miriam Hermeto de Sa Motta
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Engajamento; Ditadura militar; História política; Paulo Pontes; Chico Buarque; Gota dágua; Espetáculo teatral e assistência; Livro e leitura; Disco e audição; Cultura política comunista; História cultural; Pontes, Paulo, 1940-1976 Gota d'água Crítica e interpretação; Política cultural; Buarque, Chico, 1944- Gota d'água Crítica e interpretação; História; Ciência política; Livros e leitura; Brasil Historia 1964-1985
• Link de acesso: http://hdl.handle.net/1843/BUOS-8FML5M

A text of drama-literature written by Chico Buarque and Paulo Pontes (1975) Gota D'Água is analyzed as an brazillian artistic-intellectual event occurred between 1975 and 1980, and also in contemporary social memory. The thesis begins with an analysis of the trajectories of the event producers in order to understand the configurations ofthe artistic-intellectual field space of experience in which the text was produced as well as the horizon of expectation of their authors. Then, taking each of the modes of playing and circulation of the text as a scale of the object analysis, the event is viewed from three different lenses: the books and the reading, the stage show and the acting, the disk and the hearing. At each scale, we studied the social representations withinthe production, focusing on the relationship between the elements of political engagement (especially related to the communist political culture) and the specificities of artistic languages that holds the text (drama-literature, theater and music). We also examined the meanings to the text by the different stakeholders agencies and information censorship, journalists, intellectuals, students and consumers in general. It was possible to identify and understand the changes occurring in the event, both in movement between the sphere of production and consumption, and in temporal duration. In general, we found that between 1975 and 1980, running on different media, the changes in the artistic-intellectual field and in the Brazilian society gradually led tothe depoliticization of the text in the execution of the Gota DÁgua, distancing it from its origin in the communist political culture. In contrast, we observed the construction of a multiplicity of social representations of engagement related to the text in the sphere of immediate receipt and contemporary social memory.