Literatura, resistência, memória: a atuação do grupo de teatro do SESC Uberlândia (1968-1974)

• Ano de defesa: 2014
• Autor(a) principal: Lima, Maria Inez Galvão
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; BR; Programa de Pós-graduação em Letras; Linguística, Letras e Artes; UFU
• Palavras-chave em Português: Literatura; Teatro; Memória; Grupo de teatro do SESC; Literatura - História e crítica; Teatro - Uberlândia (MG) - História; Literature; Theater; Memory; SESC theater group; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
• Link de acesso: https://repositorio.ufu.br/handle/123456789/11887; https://doi.org/10.14393/ufu.di.2014.448

This research intends to build a narrative that updates the cultural and historical moment experienced by the SESC Theater Group (STG) of Uberlândia. As inferred from testimonials, this group turned into a poetic and cultural resistance movement during Brazil s dictatorial period in this city, from 1968 to 1974. Therefore, the importance of capturing the location of this cultural-artistic movement as a place of memory in the history of Uberlandia, identifying a different outlook on political and cultural matters that were happening in our country at the time. With a literary-musical proposal the STG took to the stage the voice of great Brazilian poets. Bringing text and music together, they created shows with their own texts and those of other poets, which, at that moment, remained silent by the reality in which they found themselves. The Group built and re-enacted speeches filled with poetry and intentionality. In a polyphonic and interactive exercise, they played Zumbi, one of the great works in the dramatic arts of the 1960s. The group recited lyrics by Vinícius de Morais, Lindolf Bell, Thiago de Mello, sang Chico Buarque, Edu Lobo, Sidney Miller among many others, and paid homage to Carlos Drummond de Andrade, the greater poet, singing and reciting his life through his works. For this literary journey it is justified, in this work, to collect and organize the production of the STG as a source of memory for future researchers on the literature of the 1960/70 and the history of theater in Uberlândia.