América Latina: tradução pelo palco de A terrível opressão dos gestos magnânimos, Escola e Ñuke

• Ano de defesa: 2024
• Autor(a) principal: Assis Benevenuto Vidigal
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; Programa de Pós-Graduação em Estudos Literários; UFMG
• Palavras-chave em Português: História latino-americana; Traductologia; Dramaturgia; Pacto teatral; Estudos editoriais; Veronese, Daniel, 1955- – Terrible opresión de los gestos magnânimos – Crítica e interpretação; Calderón, Guillermo, 1971- – Escuela – Crítica e interpretação; Arancibia Urzúa, David – Ñuke – Crítica e interpretação; Quatroloscinco Teatro do Comum (Grupo de Teatro); Orendive Teatro Intercultural (Grupo de Teatro); Teatro latino-americano – História e crítica; Teatro (Literatura); Criação (Literária, artística, etc.); Performance (Arte); Tradução e interpretação; Teatro latino-americano – Traduções para o português; Rojo, Sara, 1955-.
• Link de acesso: http://hdl.handle.net/1843/69554; https://orcid.org/0000-0001-5747-7174

This dissertation is dedicated to research into the translation of Latin American dramas based on the process of scenic experimentation of texts, created together with other agents of and in the theatrical event, as a possible methodology for translating the dramatic genre. Considering that the dramatic text, when staged, goes through a territorialization in historical time and space that transforms it, our hypothesis is that its translation also deserves to go through an experience similar to the process of spectacular creation so that, in a concept of theatrical pact, from the new territorialities produced, the translator can prepare a theatrically validated target text. We analyzed the translation processes of three works La terrible opresión de los gestures magnánimos (1995), by the Argentinean Daniel Veronese, Escuela (2012) and Ñuke (2013), by the Chileans Guillermo Calderón and David Arancibia Urzúa, respectively, together with the groups Quatroloscinco Teatro do Comum, from Belo Horizonte, Minas Gerais, and Orendive Teatro Intercultural, from Dourados, Mato Grosso do Sul. In this dissertation we trace a trajectory of Argentine and Chilean theater, from the 19th century to the present day, in parallel with aspects from the Brazilian and Belo Horizonte context. We also propose an overview of publications and translations of Latin American theatrical texts in recent decades in the capital of Minas Gerais, as well as preparing editorial proposals for the dramaturgies translated here based on the translation processes experienced. In this way, we seek to demonstrate how our work fits into a political perspective of promoting Latin American theatrical, critical, literary and editorial production.