Nos passos do Urubu Malandro - do picadeiro à tela: Oscarito e a Atlântida cinematográfica

• Ano de defesa: 2012
• Autor(a) principal: Solano, Alexandre Francisco
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; BR; Programa de Pós-graduação em História; Ciências Humanas; UFU
• Palavras-chave em Português: Cinema - Brasil - História; Atores brasileiros - Biografia; Oscarito, 1906-1970; Oscarito; Cinema; História; Cultura; Literatura; Film; History; Culture; Literature; CNPQ::CIENCIAS HUMANAS::HISTORIA
• Link de acesso: https://repositorio.ufu.br/handle/123456789/16414; https://doi.org/10.14393/ufu.di.2012.136

This study, by criticalnewspapers of the period and biographies of comedian Oscarito is constructed from the following concerns: Oscarito, throughout his career in the 1940s, 50 and 60, figured in the newspapers as one of major national players, and currently is a notable absence, or rather an excess of forgetting related to their contributions. To put it simply, the organizers of film festivals and film clubs talk a lot about the comic figure, citing it as the symbol of the great movie musicals. In a descriptive way, the biographies indicate the comedian for his entire career, the scene of the film arena, and not cease to be an attempt to rescue the image of Oscarito. Although these memories, whether celebratory or biographical nature, do not refer to the techniques, gestures and way of interpreting Oscarito left by the current actors. In this sense, our memories tend to be off the question what should be remembered moving to how we must remind you (in the case Oscarito). This guy would look back a ransom mainly the construction of his art and its characters. Today, even if his stunts, his genuine small step from rogue vulture , his distinctive beak, its ability to explore space shooting, their ability to enjoy a close his way to transform a plain text criticism and its plausible gags are present in scenic areas and television, we have no clear allusions to it all. In other words, courses in theater, in works of national cinema, or even those that deal directly from the actor's work there is no reflection on its way of acting and teaching that could be raised from the films in which Oscarito was almost always the protagonist. Thus, this work has four parts well defined, both as the object approached the subject being treated. The first is a presentation of the life and work of Oscarito, in a style delighted to describe someone on the path, but always supported data sources and to prove this narrative. The second, based on the relationship between memory and oblivion of history, is based on the finding of a forgetfulness that is not a fluke, or a memory that is built following a phenomenology itself to the discourse of critics and intellectuals who discuss the way of art in the Brazilian Cinema. Throughout the film Assim era a Atlântida, come to the third part of this work, which enables us a fresh look at the possibilities of telling the history of cinema and national actors, bringing not only the figure of Oscarito as unforgettable films of the time. We are dedicated to the further analysis of the works that show, directly or indirectly, the importance of Oscarito in popular movies , through the next works: Este mundo é um pandeio (Sérgio Augusto), O Mundo como Chanchadas (Rosangela Dias), O Riso e o Siso (Flávio Marinho) e Oscarito: nosso Oscar de Ouro (Fajardo Elias). Finally, the last part to demonstrate the contribution of popular movies and actors like Oscarito through techniques, exercises and how comedian built his characters and their actions, intended, then a new look to the history of our cinema. In this sense, Oscarito is the best example to elucidate how the trajectory of national cinema depends directly on the performances of great actors, it is important then to study it, linking it to the mechanisms of laughter, the actor's work, the preparation and construction of his characters.