O teatro de resistência em cena: literatura e história em Liberdade, liberdade, de Millôr Fernandes e Flávio Rangel

Abstract

Based on the contributions from Magaldi (1984, 2003, 2008); Faria (1998); Pallottini (1989, 2006); Guinsburg, Faria and Lima (2009); Prado (1987); Heliodora (2008); Peixoto (2006, 2007); Pavis (2007); Ryngaert (1995, 1998); Ubersfeld (2005), refering to the constitution of the theatrical discourse, and the theoretical presupposes of Esteves (2010); Pesavento (1998); Freitas (1989); Weinhardt (1994); Pessotti (1994); Malard (1996); White (2001, 2008) and Burke (1992, 2011) to the relations established between Literature and History, this text seeks to reflect on the relations the play Liberdade, liberdade, by Millôr Fernandes and Flávio Rangel (1965) with the Brazilian dictatorship period (1964-1985). The choice of this theme resulted from the interest in studying a work that questioned the scheme repressor that dominated Brazil. In this sense, will be detached the historical context in which the work was written, encompassing, for this, aspects of the period except in Brazil post-64, demonstrated through the opposition between the artists engaged (Millôr and Rangel) and oppressive power. Indeed, we intend to analyze the representation of the nonconformity of the nation, since the work draws on classical and historical texts, as well as make use of music to achieve an effect of meaning that flows into the relentless pursuit of freedom. The work flows from dramatic to comedic, supported by political discourse. The play was presented in several universities and theaters Brazilian and was marked by openness aesthetic permeated the enthusiasm of young students, the repression of the organs of censorship and distrust of the general public. Thus, there is the Theatre of Resistance, a term advocated by researchers J. Ginsburg, João Roberto Faria and Mariangela Alves de Lima (2009) in his Dicionário do teatro brasileiro. For better understanding, the work is structured in three chapters. The first "O cenário do teatro de resistência: a ditadura military brasileira" focuses on the Brazilian historical moment in which the part was designed, especially with regard to the dictatorial regime. The second - "Entre o romance histórico e o drama, uma caracterização" brings up the relationship established between Literature and History, especially regarding the applicability of the term "historical novel" to a dramatic text. The third and last chapter - "Além da tinta e do papel: no proscênio, a liberdade", seeks to describe the dramatic text Liberdade, liberdade from theories of theater and drama.