Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

Do picadeiro ao céu : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country

O chiste em Tutaméia: riso que (des)vela

The aim of this paper is to present the study of the laughter in Tutaméia, by João Guimarães Rosa, throughtout the four forewords and ten novels selected from the author s literary work. It is based on the psychoanalytical theory of Sigmund Freud and Jacques Lacan about the laughter (and delight in the humorous nuances) and the unconscious mind. By taking the laughter as the point of exploitation and understanding, the narration can be understood from an esthetical pattern established on the variety of orallity retained by the narrator and the cordel pamphlets (known as string literature ) and its bypassing on the classical literature and the popular literature revealing its own logical linguistic and conception apart from the official one. It is taken a comparative conception of life in the François Rabelais characters and some characters from Tutaméia having Melim-Meloso as a paradigm showing how one s life can be happy in spite of all adversities by using laughter as the antidote potion against human being s misery and pain to achieve sense of freedom and pleasure

O riso irônico na obra poética de Cruz e Sousa

This work brings up a review on the poetic works of Cruz e Sousa, a nineteenth-century Brazilian poet. Laughter has been chosen as an analytical category, because it is a pertinent theme which makes possible a more accurate comprehension of the lyric content of Cruz e Sousa s poetic works. The laughter manifested in his verses is seen as a mechanism which compensates both normativeness and seriousness, as well as turns inside out whatever society establishes as being natural or an absolute truth. Amongst his poems, we will focus on the ones which express their lyric nature both through laughter and irony, since these elements serve as a means to criticize the Brazilian society in the late nineteenth-century and early twentieth-century. This study is guided by theories of laughter proposed by Minois (2003), Bakhtin (1993), Bergson (2007), as well as Adorno s (2003) and Antonio Candido s (2010) theoretical assumptions concerning lyric poetry and society

Nietzsche e Rosset: alegria, impulso à criação

Understood in a project of transvaluation of values, the joy is one of the central themes of the thought of Friedrich Nietzsche and Clément Rosset. Opposed to the dogmatic philosophy that moralize and robs your strength to think of it as "happiness", evaluated, in short, a target linked to virtue and rationality these thinkers propose a perspective that makes the joy of point to an instance extraterrestrial and back to the earth, to the body. In this vein, beyond the oppositions of values constitutive of metaphysics dogmatic, the joy and suffering are conceived as elements that are not mutually exclusive, they are complementary as foundations of a gaia(ta) science, based in laughter and friendship. Contents of a tragic wisdom that leads to an unconditional fidelity to the real (expressed in formulas of amor fati Nietzsche and unrestricted approval of existence Rosset), the joy is then interview as vital impulse, the force majeure, the strength plastic encourages artistic creation: the joy of children playing

O eterno espanto: uma leitura estética em Mario Quintana

This work aims to read the phenomenon of the Sublime as the main aesthetical concern in the work of the Brazilian poet Mario Quintana. The research was based on the dialogical approach used by Mario Quintana to see life & poetry. This search noticed that such aesthetical concern is an answer to the modern age that surrounds the post-war man. Immerse in his aesthetical concerns, Mario Quintana designs, through his poetry, a way to give humanity back to men. In this attempt of rupture, Mario Quintana returns to tradition through astonishment besides laughter

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas