The modern man on his multiple dramatic perspectives

• Grant number: 13/06119-0
• Support Opportunities: Scholarships in Brazil - Scientific Initiation
• Start date: July 01, 2013
• End date: June 30, 2014
• Field of knowledge: Humanities - Philosophy
• Principal Investigator: Ana Maria Portich
• Grantee: Danieli Gervazio Magdaleno
• Host Institution: Faculdade de Filosofia e Ciências (FFC). Universidade Estadual Paulista (UNESP). Campus de Marília. Marília , SP, Brazil

Abstract

Analyzing plays from the end of the 19th century until the middle of the 20th century is possible to verify an isolation of the characters on themselves. Such an isolation, according to some critics of aesthetic theory, provokes a crisis on the Drama notion, by breaking with the dramatic genre constituted since Antiquity, which focuses on the interrelation of the characters as fundamental ground. However, according to the existentialist aspect of the aesthetic theory, the isolation process to which the character is submitted belongs to the human condition, being independent of time or literary genre, since existence itself causes the reflection of man about himself, invalidating the dramatic expression of the inner self. The main objective of this research is to make a confrontation between the historicist point of view and the existentialist point of view. Therefore, a meticulous analysis of plays will be exposed, taking as a starting point, by one hand, the authors who defend the historicist point of view, such as Peter Szondi, Raymond Williams, Anatol Rosenfeld e Georgy Lukács, by other hand, the existentialist ones, such as Martin Esslin and Jean-Paul Sartre. From understanding the reality of human existence comes the necessity to analyze the plays of Beckett, Ionesco and Sartre himself, playwrights which can also be studied from the perspective of the crisis of dramatic genre. Thus, at the end of the research we will be able to balance the two lines in order to find alternatives to the situation of isolation present in contemporary drama. This way, it rescues the possibility of characters' interrelationship, without that, drama does not exist. (AU)