The stage and the ring: controversial season Piolin of Boa Vista Theatre (1931)

• Grant number: 12/06509-0
• Support Opportunities: Scholarships in Brazil - Scientific Initiation
• Start date: June 01, 2012
• End date: May 31, 2013
• Field of knowledge: Applied Social Sciences - Communications
• Principal Investigator: Walter de Sousa Junior
• Grantee: Audrea Santos de Santana
• Host Institution: Escola de Comunicações e Artes (ECA). Universidade de São Paulo (USP). São Paulo , SP, Brazil

Abstract

Popular expression, the circus had considerable influence on the cultural scene in São Paulo during the twentieth century. Perhaps the main character circus to contribute to this process was Abelard Pinto Piolin clown who appeared in three distinct phases of his life: at first sharing the stage with Alcibiades, in the expressive Paissandu season in Largo, downtown, when it became a reference of comedy, and influenced by modernist intellectuals during the 1920s, then when you decide to act in Boa Vista Theatre next to the Italian comic Tom Bill, and, finally, when riding the Piolin Circus in 1933 and has nearly three decades, much of this period installed in Barra Funda, when it makes reference in the comedy arena, entertaining several generations of audiences. The intermediate phase, the shortest, because the season lasted only a few months, is the most dissonant of his career as a clown, because it caused adverse reactions from both the middle of the circus and the theater. It is this phase that will be examined in this study, based on the plays performed and that are present in the Miroel Silveira, in addition to references to the period found in the Sao Paulo press.(AU)