Do princípio ao verbo: teatralidade e representação em Jesus Homem, de Plínio Marcos

Abstract

The process of renewing the theatrical language, joined to the transformations of economical, political and social order, they brought subsidies for the creation of new possibilities of scenic accomplishment, starting from the decade of 1940, concerning form and content. In this way, some plays that emerged from precepts of psychological order were important to the Brazilian stage, reflecting the social subjects and, fundamentally, the rupture with the traditional theater, above all the molds of the "good play" which was primordial for the configuration of a national identity in the drama field. Nowadays, some discussions related to the established political order, the family relationships in crisis and, especially, subjects related to the identity, were mentioned by the authors. So, being anchored in the criteria proposed by Grassland (1972) and Pallotini (1989) on concept of characters' construction, in the contributions of Ryngaert (1996, 1998), Pavis (1999), Rosenfeld (1993, 1996) and Ubersfeld (2005) concerning the notions that configure the theatrical speech; in the presuppositions of Leenhardt and Pesavento (1998) in what it concerns to the relationship between historical speech and literary narrative in the postulates of Cevasco (2003), Souza (2002), Hall (2003) and Silva (2000) on the mechanisms that regulate the Cultural Studies, the objective of this work is to analyze the piece Jesus Homem (1981), of the contemporary playwright Plínio Marcos, in a way to establish a relationship between the artistic structures and the Brazilian social structure, pointing out connections between the discursive artifices and the underlying ideology in the text-object of the analysis. Following this thoughts, it will be focused the ideological confrontation among the ideological voices contained in the work. In one hand, the force of the oppressor power (characterized in the character of Herodes); on the other hand, the speech of the consideration (contained in Jesus' voice), projecting, in the scene, the discursive confrontation among the characters. Concerning this, based on interviews, bibliographical and documental researches, the dissertation is structured in three chapters. The first chapter chapter- “Os Estudos Culturais e a(s) leitura(s) de textos literários” - brings the analysis and discussion of the data based on the theory of the cultural studies and focalizes the Brazilian historical moment when the play was produced, especially in what it refers to the exception period with proximity to the Brazilian political opening. The second chapter- “Criação artística pliniana: uma fortuna crítica- focalizes the political engagement of Plinio‟s work and his own life, calling works that had already been done on the texts of the playwright. “O político e o social no palco brasilleiro: em cena, Jesus homem” will be focused in the third chapter, centered in the speech of the characters, as well as questions related to the political theater that enrolls the play.