BETWEEN THE "GUIÑOLES" LORQUIANOS AND THE PERNAMBUCANOS PUPPETS: A STUDY OF THE ASPECTS OF The RISIBLE IN ARIANO SUASSUNA THROUGH YOUR ENTREMEZES

• Grant number: 22/02759-3
• Support Opportunities: Scholarships in Brazil - Doctorate
• Start date: August 01, 2022
• End date: July 31, 2026
• Field of knowledge: Linguistics, Literature and Arts - Arts - Theatre
• Principal Investigator: Francisco Claudio Alves Marques
• Grantee: Gabriel da Silva Conessa
• Host Institution: Faculdade de Ciências e Letras (FCL-ASSIS). Universidade Estadual Paulista (UNESP). Campus de Assis. Assis , SP, Brazil

Abstract

In this research we intend to revisit the panorama of the artistic movement of the 1940s and 1950s in Recife, two decades that we consider fundamental for the understanding of the artistic and intellectual formation of Ariano Suassuna in the field of the risible. The first, marked by the entry of Suassuna in Recife's Law School, by his involvement with the theater group led by Hermilo Borba Filho, by the contact with the thought and theatrical work of García Lorca and by the inauguration of the Teatro do Estudante de Pernambuco in 1946; the second, marked by the composition of entremezes that served as the basis for the assembly of long-lasting comic pieces. In addition to the time frame, this research must also comply with a second criterion: among the nine entremezes produced in the period, focus only those of a comic nature, adapted or carried out in the manner of the Mamulengo, namely: Torturas de um Coração (1951), O Rico Avarento (1954), O Seguro (1957) and O Marido Domado (1961), because we believe that such compositions consisted of experiments in the field of laughable, guided by the research of the group led by Borba Filho, especially on the comic, laughter and popular culture, and also because they reveal aesthetic and ideological similarities with the conception of theater developed by Lorca in the "títeres de cachiporra" entremezes for puppets assembled between the years 1920 and 1930 and inspired by a particular genre of Andalusian puppet theater, called "Guiñol", in which the Spanish author sought an aesthetic of theatricality that surpassed naturalism on stage, thus breaking with the dramatic canon.