Cette thèse porte sur la comédie musicale américaine des décennies 1940 et 1950 à Broadway, illustrée par le répertoire du compositeur Leonard Bernstein. L'enjeu est d'analyser les différents mécanismes internes et externes de création des œuvres de cette époque. La comédie musicale étant un genre vivant à la croisée du théâtre, de la musique et de la danse, nous avons choisi de l'étudier selon plusieurs démarches : historique, structurelle, et typologique. D'un point de vue méthodologique, cette thèse s'appuie notamment sur l'analyse narrative et musicale de 156 musicals, et des trois comédies musicales de L. Bernstein en particulier. Dans un premier temps, la thèse se concentre sur la comédie musicale à Broadway dans les décennies 1940 et 1950, en explicitant les marqueurs historiques, narratifs, musicaux et chorégraphiques du genre. Dans un second temps, la thèse analyse le répertoire des musicals de L. Bernstein dans sa globalité, en interrogeant d'une part le style de l'artiste, et d'autre part la cohérence des œuvres entre elles et avec les canons mis en évidence dans la partie précédente. Enfin, l'étude de la comédie musicale On the Town (1944) explicite la genèse de l'œuvre, ses caractéristiques musicales et chorégraphiques, et la réception publique et critique du spectacle. / This dissertation deals with the American Broadway musical during the 1940's and the 1950's, illustrated by Leonard Bernstein's works. Our concern is to study the various internal and external processes of creation of these pieces during this period. As the Broadway musical is a lively genre overlaying theatre, music and dance, we chose to study it through multiple angles: through its history, its structure and its typology. From a methodological point of view, this dissertation will rely on the narrative and musical analysis of 156 musicals, and especially three of L. Bernstein's musicals. First this dissertation will focus on Broadway's musicals during the 1940's and the 1950's, and will clarify the genre's historical, narrative, musical and choreographic markers. Secondly we will study L. Bernstein's own musicals. We will make explicit the composer's style, and put to test the consistency of his works amongst themselves and with the genre's canons. Last but not least, our analysis of the musical On the Town (1944) we will highlight the show's genesis, its musical and choreographic markers, and its public and critical reception.

[pt] Esta dissertação tem por objetivo analisar a peça musical West Side Story (1957) e suas adaptações fílmicas de 1961 e 2021. A pesquisa, de caráter qualitativo, toma como texto-fonte a tragédia lírica Romeu e Julieta, (1595-1596) de William Shakespeare, visando à investigação dos pontos em comum entre as quatro obras que permitem ao espectador identificar a relação entre as diferentes versões do musical e o clássico elisabetano, para então conduzir uma análise comparativa entre essas adaptações quanto às alterações na representação dos imigrantes e da narrativa acerca dos grupos rivais. Para esse fim, as fontes utilizadas por Shakespeare para a composição de Romeu e Julieta foram consultadas, bem como os elementos de outras adaptações dessa peça que, assim como West Side Story (1957, 1961 e 2021), transpuseram o enredo da obra para cenários de violência urbana, marginalidade, rivalidade, xenofobia e ineficácia ou negligência das forças policiais em lidar com esses fenômenos sociais. A pesquisa se apoia em um arcabouço teórico triplo, consistindo de Estudos da Adaptação, com os pressupostos de Linda Hutcheon (2011) e Julie Sanders (2006); Estudos Shakespearianos, com Blakemore Evans (2003), Anna Stegh Camati (2021), e Courtney Lehmann (2010); e dentro dos Estudos da Tradução, o movimento que pode ser denominado Virada Ativista, com Maria Tymoczko (2010), Mona Baker (2010) e Michaela Wolf (2012), bem como a sociologia da imigração aplicada à tradução, para se entender e analisar o cenário político da imigração nos anos 1950 em Nova York, época retratada nas produções do musical. Além dos teóricos mencionados, a dissertação faz uso da massa crítica suscitada pelas adaptações para analisar elementos de representatividade latina na escalação do elenco, na alteração de números musicais quanto à letra e o posicionamento das canções, na presença da língua espanhola em falas dos personagens latinos e nas cenas das produções, com ou sem falas, que direcionem o olhar do espectador para o imigrante e a denúncia da xenofobia entre os séculos XX e XXI. A análise do corpus indica que as escolhas feitas por Steven Spielberg na direção de West Side Story (2021) são produto de seu tempo, estando inseridas nas expectativas do contexto histórico de recepção da obra, e ressaltam o papel e a importância do tradutor e do adaptador enquanto agente de transformações e subversor de narrativas, ainda que o próprio diretor não estivesse ciente da convergência do seu projeto de adaptação com a Virada Ativista dos Estudos da Tradução. / [en] This thesis analyzes the musical West Side Story (1957) and its movie adaptations from 1961 and 2021. Taking William Shakespeare’s lyrical tragedy Romeo and Juliet (1595-1596) as the source text, one of the objectives of this qualitative research is to investigate the points of convergence between all four works that allow spectators to identify a relationship among the different versions of the musical, and the Shakespeare play. A comparative analysis is then conducted between these different adaptations to identify how they change the portrayal and representation of the immigrants, and the narrative concerning the rival groups. To this end, the sources Shakespeare used to write Romeo and Juliet were consulted, as were elements of other adaptations of this play that, like West Side Story (1957, 1961, and 2021), transpose the story to settings of urban violence, marginalization, rivalry, and xenophobia where these social phenomena are neglected or addressed ineffectually by law enforcement. This research is supported by a three-fold theoretical framework: Adaptation Studies, based on studies by Linda Hutcheon (2011) and Julie Sanders (2006); Shakespeare Studies, especially Blakemore Evans (2003), Anna Stegh Camati (2021), and Courtney Lehmann (2010); and translation scholarship from the activist turn, such as Maria Tymoczko (2010), Mona Baker (2010) and Michaela Wolf (2012). It also draws on some ideas from the sociology of immigration applied to translation in order to analyze and understand the political context of immigration in 1950s New York, the period portrayed in the three productions of West Side Story. In addition to the theoretical framework mentioned above, this thesis also draws on texts that discuss the adaptations, to examine elements of Latino representation in the casting, the changes to the lyrics of the musical numbers and the order in which they appear, the inclusion of lines in Spanish for some Latino characters, and the scenes, with or without dialogue, that direct the viewers gaze to the plight of immigrants and xenophobia in the 20th and the 21st centuries. The analysis of the corpus indicates that the directorial choices Steven Spielberg made in West Side Story (2021) are the product of his time, meeting the expectations of the contemporary context of reception, highlighting the translator s and adapter s role and relevance as agents of narrative change and subversion, even if the director himself was unaware of the convergence of his adaptation project with the activist turn in Translation Studies.