OF STAGE OF THE ACADEMY: THE CONSTRUCTION DRAMATURGY OF MÃO NA LUVA, BY ODUVALDO VIANNA FILHO

Anchoring on the studies of Ubersfeld (2005), Ryngaert (1996), Pallottini (1998), Pavis (1999), Magaldi (1984, 1997) about the way of structuring of theatrical text, as well as the symbolic structuring of Chevalier and Gueerbrant (1998), this work presents as object, the analysis of the characters' speeches Ele and Ela contained in the dramatic text Mão na luva (1966), by the playwright Oduvaldo Vianna Filho. The work approaches the dynamics of the relationships between the characters seeking to analyze in a specific way the dramatic construction of Vianna Filho, observing the author's peculiar aspects and the questionable relationship between text and representation. We want to show, through the strategies of construction of the text, the poetic view of the playwright, looking for the understanding of the nuances of the social-political discourse contained in the piece, that supplies, among other aspects, important characteristics to be considered  in the analytic ambit: the identity, the social and financial situation that the protagonists are, the political-ideological convictions and the power relationships observed in a great part of the dialogues. It's important to point out that all these subjects are fundamental for the process of diegetic understanding; once, unavoidably, being generating sources of conflict.

The denouncement in the social textualization by interweavement of significant materialities

In this paper I analyse the discursive mechanics on a scene of the Brazilian film Ó paí, ó! , directed by Monique Gardenberg and based on Marcio Meirelles's play. As a start I reckon that the film textualises the social aspects parting from the relation between humour and denunciation. This relation mirrors at another one: the one between art and resistence, which is broadcast on the common  sense as well as on the theoretical-political and artistical field. I reckon humour as the expression of both exaggeration and irony that is formulated by the interweavement of images, gestures, sounds and text. The denunciation, however, is viewed as the textualisation of the conflict, once there is an element of denouncement in the play (as well as in the film), since it intends to portrait the situation of the inhabitants of Pelourinho (a historical neighbourhood in Salvador) during the 90's. This was the period when the neighbourhood was under refurbishment, motivated by touristic interests. The analysis is done under the analytical and theoretical premises of the Discourse Analysis, on a materialist perspective. I also use the notions of interdiscourse, resistence and denunciation against the analytical notions of intradiscourse and discursive memory. I believe to be able to show how the visual formulations textualise social aspects, considering the intersection between humour and denunciation as an axis of sustainability of these formulations.