The aesthetic-political vision in Liberdade Liberdade (1965 - Brazil) and Liberdade Liberdade (1974 - Portugal): aspects of the work of Vianinha and the Grupo Opinião.

• Grant number: 24/15874-0
• Support Opportunities: Scholarships abroad - Research Internship - Master's degree
• Start date: December 28, 2024
• End date: June 16, 2025
• Field of knowledge: Linguistics, Literature and Arts - Arts - Theatre
• Principal Investigator: Elizabete Sanches Rocha
• Grantee: Gabriella Pereira Rodrigues
• Supervisor: Paula Cristina Gomes Magalhaes
• Host Institution: Faculdade de Ciências e Letras (FCL). Universidade Estadual Paulista (UNESP). Campus de Araraquara. Araraquara , SP, Brazil
• Institution abroad: Universidade de Lisboa, Portugal
• Associated to the scholarship: 23/14500-7 - Boy in a state of siege: dodges and confrontations, BP.MS

Abstract

The project for BEPE, entitled A visão estético-política em Liberdade liberdade (1965 - Brazil) e Liberdade liberdade (1974 - Portugal): aspectos do trabalho de Vianinha e do Grupo Opinião, aims to rescue the text and the Portuguese staging of Liberdade, liberdade (1974), performed at the Teatro Villaret, owned by manager Raúl Solnado, in Lisbon, in order to broaden the theoretical scope on the play and on the relationship between Portuguese and Brazilian theater and, thus, reiterate the proximity between these Lusophone theatricalities, in order to expand the research methodology in the country, adding the study of two dramaturgies, the national and the Portuguese (adapted from the Brazilian version) with the aim of delimiting notions and concepts about dramaturgy through the formal and thematic contrast between the texts. Finally, our hypothesis for analyzing the dramaturgies of Liberdade Liberdade centers on the evidence that the political contexts produced two stagings guided by different historical specificities; in the Brazilian case, the staging of Liberdade Liberdade (1965), performed by Grupo Opinião, took place at a counter-revolutionary moment, while the Portuguese version was performed at the dawn of the Carnation Revolution, which turned 50 this year.