Visualidades da dramaturgia de Jean Genet: um estudo do texto teatral e da adaptação cênica brasileira de O Balcão

• Ano de defesa: 2020
• Autor(a) principal: Dias, Cristina Matos Silva e
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em Estudos Literários
• Palavras-chave em Português: O Balcão; Jean Genet; Visualidade; Figurino; Adaptação brasileira de O Balcão; The Balcony; Visuality; Costume; Brazilian adaptation of The Balcony; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO::DRAMATURGIA; Genet, Jean, 1910-1986; Teatro; Parafernália teatral
• Link de acesso: https://repositorio.ufu.br/handle/123456789/30139; http://doi.org/10.14393/ufu.te.2020.687

This thesis presents the title Visualities of the dramaturgy of Jean Genet: a study of the theatrical text and the Brazilian scenic adaptation of The Balcony and extends in two fundamental parts. The first and main investigates the visuality in the writing of the French playwright, highlighting the aesthetics and poetics contained in the literary plan of the text in question. It’s considered the principle of visuality in reading, the way in which scenes are described and how they become embodied in a mental staging, that is, scenes that emanate a strong visualization that give the impression that what is read unfolds before the eyes. It should be noted that the referred scenic literature has a notch of descriptions that particularizes it, reinforcing its metatheatrical characteristics. In this way, a look at the costume, scenarios and details that Genet exalts, whether in the rubrics or in the characters' speeches, was activated in order to understand the verb-visual plane that exists in The Balcony. These understandings correspond to the first three chapters respectively. The second moment and last chapter is a study of the Brazilian adaptation of the genetian text, idealized by Ruth Escobar, directed by Victor Garcia and staged by Wladimir Pereira Cardoso, in São Paulo, in 1969. It’s considered the knowledge about the concept of visuality and From this perspective, the research leads to the perception of how the version of the Brazilian stages took shape and became immortalized as one of the greatest theatrical references in the country.