O PAPEL SEMIOLÓGICO DAS DIDASCÁLIAS EM A MULHER SEM PECADO E VESTIDO DE NOIVA, DE NELSON RODRIGUES

Abstract

In this doctoral dissertation, we discuss the historical demands of the expression of the scenographic dimension that made the didascaly become protagonists in the construction of the meaning of modern psychological dramas. With the support of Drama Theories and Theater Semiology studies, we problematize the exploration of the human psyche written in the didascaly. We demonstrate the importance of this type of scenic annotation, especially in psychological theatrical writing. For that, we analyzed A mulher sem pecado (1941) and Vestido de noiva (1943), texts written by the Brazilian writer Nelson Rodrigues. Because of the specificity imposed by the meaning added by the scenic indications, we realized the importance of reading the dramatic text as a strategy of spectacle in a virtual state. This reading method was adopted in this doctoral dissertation is supported by the studies of Anne Ubersfeld (2013), Patrice Pavis (2015) and Paul Zumthor (2007). The act of ignoring the didascaly as the scenic virtuality predetermined in the text is equivalent to neglecting a factor that builds the specificity of Nelson Rodrigues' psychological writing. Although A mulher sem pecado (1941) and Vestido de noiva (1943) have been extensively studied, did not exist, until now, a particular study about the aesthetic importance of didascaly as a factor that builds a profound theatrical incursion into the internal lives characters as we did in this study. According to the results of this doctoral dissertation, in these two plays, deep psychic contents that do not appear in the traditional dialogue are communicable, theatrically, especially because of the light and the microphone indicated in the didascaly.