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| Author(s): |
Bernardo Fonseca Machado
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2018-12-19 |
| Examining board members: |
Lilia Katri Moritz Schwarcz;
Maria Claudia Pereira Coelho;
Fernanda Arêas Peixoto;
Heloisa André Pontes;
Laura Moutinho da Silva
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| Advisor: | Lilia Katri Moritz Schwarcz |
| Abstract | |
Since the turn of the century, Broadway shows in New York City have come to be largely produced in São Paulo. In less than a decade, an organized system of musical production was established in the capital of the Brazilian State of São Paulo. This thesis purpose is to investigate some theatrical traffic between these cities in the beginning of the new millennium. The research analyses actress and actors way of producing, updating and negotiating the concept of difference in the backstage. The work has adopted two major strategies. First, I pursued a documental investigation based on primary sources to identify the social, economic and symbolic environment that allowed this to become viable. Simultaneously, I have endeavored field research at musical theater schools in São Paulo and New York City. I concluded that, in the daily learning, acting was essential to express the inner emotional world portrayed in scene. Furthermore, teachers instructed artists to recognize the types their bodies allowed them to be: who could be the lead in certain shows and who could not. I have also conducted interviews with Brazilian actress and actors that had travelled to the United States pursuing a career. Slowly, it became evident how subjects adopted a certain grammar that sometimes qualified musicals as universal, while at other times understood them as particular. On one hand, emotions were universally shared between the two cities allowing the traffic of plays. On the other, the performers bodies displayed particular differences and not all embodied the necessary type for the job. An intricate ensemble of arguments that included pedagogic potential of theatrical techniques, economic advantages of productions, global communion of emotions and the artists conquer of their individual dream cemented the plays itinerary between the cities. In parallel, in São Paulo, this discourse suffered displacement, adaptation, defiance and dispute. Thus, I investigate how speech and practices regarding particularity and universality have been produced, reproduced, re-significated, negotiated and, at times, rejected by subjects. Differences and similarities have surfaced in relationships established during the many circumstances observed by this author. The analytical question for the entire thesis is: how differences and similarities emerge in theatrical traffic between São Paulo and New York City? (AU) | |
| FAPESP's process: | 14/15902-2 - Theatre in Transit - between São Paulo and New York, halfway performers and stage. |
| Grantee: | Bernardo Fonseca Machado |
| Support Opportunities: | Scholarships in Brazil - Doctorate |