A santa absolvição do crime: violência, revolta e religiosidade nas dramaturgias de Jean Genet e Plínio Marcos

• Ano de defesa: 2012
• Autor(a) principal: Branco, Lucio Allemand
• Orientador(a): Pereira, Victor Hugo Adler
• Banca de defesa: Pontes Junior, Geraldo Ramos , Gomes, Renato Cordeiro , Mello, Celina Maria Moreira de , Bulhões-carvalho, Ana Maria de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Rio de Janeiro
• Programa de Pós-Graduação: Programa de Pós-Graduação em Letras
• Departamento: Centro de Educação e Humanidades::Instituto de Letras
• País: BR
• Palavras-chave em Português: Literatura comparada - Brasileira e francesa; Literatura comparada Francesa e brasileira; Genet, Jean, 1910-1986 Crítica e interpretação; Marcos, Plinio, 1935- - Crítica e interpretação; Violência na literatura; Negros na literatura; Religiosidade na literatura; Teatro (Literatura) História e crítica; Violência; Revolta; Religiosidade; Dramaturgia
• Palavras-chave em Inglês: Violence; Revolt; Religiosity; Dramaturgy
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA COMPARADA
• Link de acesso: http://www.bdtd.uerj.br/handle/1/6031

The present doctoral thesis analyses, in comparative perspective, the convergences and divergences between the dramaturgies of french Jean Genet and brazilian Plínio Marcos, through the prism of three topics which are undeniably present in both: violence, revolt and religiousness. The issues of margin , border , periphery , eccentricity , dissent etc are approached in this work in order to situate the idea of other as the ontological framework that supports the theatrical work of both authors. The biographies of both authors, directly or indirectly, are related to the aura of artistic marginality attributed (and even assumed by them) to their production in general (their novels, poems, essays and short stories). One may say that much of the persona assumed by the authors corresponded to the expectations that the engaged intellectual circles had of adopting a character that could embody the role of authentic spokesman of the marginalized segment of society in which each one of them were created. Both authors enjoy a certain avant-garde status in the case of Genet s metatheatre, in his assigned binding to the Theater of the Absurd , and, in the case of Plínio s dramatic hipernaturalism , in his assigned (and even confessed) ancestry of the creative lineage of characters and motives from Nelson Rodrigues theater. Another common aspect of the drama of Genet and Plínio that has been approached is the problematization of two allegorical spaces that perfectly define the ethos of human types that inhabit them: the prison and the whorehouse. Therefore, the highlights here are Deathwatch and The Balcony, by Genet, and Barrela and O abajur lilás, by Plínio. In all of them there is also the figuration of religion-inspired motifs that, in the french author s case, contribute as a type of ritual consecration of crime (which echoes in Antoin Artaud s ideas) and, in the case of the brazilian author, function as a cathartic exercise of compassion in the shade of a primitive Christianity which is insinuated in the treatment given to the degradation of the social outcasts that compose his dramatic universe. Finally, we comparatively analyzed three brazilian plays (Pedro Mico, by Antonio Callado; Gimba, o presidente dos valentes, by Gianfrancesco Guarnieri; and Oração para um pé de chinelo, by Plínio Marcos) using as a starting point a dramatic situation common to them in order to trace the affinities and distinctions of each one regarding the approach to criminality. And thus, also, be able to indicate the type of theater project to which the authors are linked, bringing up issues that are dear to the cultural-historical moment in which they were composed, like the figuration of the black men and the people who lived in slums in brazilian society