When the "Razor is sharp", the people do not takes the stage: an analysis of the prohibited discourses in the work of Plínio Marcos, in the official censorship and in the press

• Grant number: 15/23138-3
• Support Opportunities: Scholarships in Brazil - Doctorate
• Start date: March 01, 2016
• End date: June 30, 2017
• Field of knowledge: Linguistics, Literature and Arts - Linguistics - Linguistic Theory and Analysis
• Principal Investigator: Carlos Félix Piovezani Filho
• Grantee: Denise Aparecida de Paulo Ribeiro Leppos
• Host Institution: Centro de Educação e Ciências Humanas (CECH). Universidade Federal de São Carlos (UFSCAR). São Carlos , SP, Brazil

Abstract

In this research, we propose to investigate the reasons because of Plínio Marcos' work was censured during the Brazilian military dictatorship (1964-1984). For that, we intend to analyse both the dramatic texts, more precisely the authoritarian discourses sustained them and the role that the colloquial way plays them and, often, the vulgar way of his characters' expression, as what the repressive agencies of the military intelligence claimed to justify the censure and even its impact in the media of that time, produced by critics and journalists. The corpus of this work shall be composed of the following works of Plínio Marcos: Barrela (1958); As aventuras do coelho Gabriel (1965); Dois perdidos numa noite suja (1966); Navalha na carne (1967); Verde que te quero verde (1968); O abajur lilás (1969); Jornal do Plínio Marcos (1974), Feira livre (1976) e Querô, uma reportagem maldita (1976); texts and reviews published in newspapers about the censure of his work and his person in the dictatorial context and documents produced by DOPS, Federal Censure and those present in the Miroel Silveira archive. In resume, the aim of this project is to describe and to interpret the discursive relations between theater, censure and media, based on the French Discourse Analysis, following an approach of connections between constitution, formulation and circulation of the discourse (Orlandi, 2012). Also in this direction, we aim to infer the discursive properties and discursive regularities of those that were considered subversive sayings in the arts, in sayings that taxed them as such among the agents of repression, and in sayings that reiterated this conception or refuted it in the Brazilian print media of that time. (AU)