Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a dinâmica sociopolítica na história recente do país. / This work aims to interpret the dialogue made by works of contemporary Brazilian cinema with the repertoire of genre cinema. As from issues raised by film analysis of works such as The Trespasser (Beto Brant, 2002) and Hard Labour (Juliana Rojas and Marco Dutra, 2011), it seeks to reflect on the totalizing discourse formally operated in the contemporary fiction cinema, on the canonical values of our critical tradition and its relation to film genres and on the socio-political dynamics in Brazil\'s recent history.

[pt] A presente Tese de Doutorado investiga algumas das relações entre arte, política e movimentos sociais que permeiam nosso presente, partindo de uma constelação insurgente composta por exposições, ações, trabalhos de arte e de ativismo ocorridos no Rio de Janeiro, São Paulo e Pernambuco, circunscritos no período entre 2004 e 2018. Em uma abordagem transversal de arte e política, cada um dos seis capítulos coloca um determinado elemento estético em cena: duas ações do coletivo Frente Três de Fevereiro (1) e uma do Política do Impossível (2); o coletivismo artístico em torno da ocupação Prestes Maia (3) e seu desdobramento na exposição Zona de Poesia Árida e no suporte instalativo Poética do Dissenso (4); duas performances de Elilson (5); dois trabalhos de Bárbara Wagner em colaboração com grupos de evangélicos neopentecostais (6). Partindo desta constelação, discutimos problemas como a poética da política, uma educação pelo silêncio, a crítica institucional e a institucionalidade crítica, uma política do luto e da memória, além de questões relativas a coletivos, minorias, alteridades, identidades e lugares de fala. Nos baseamos especialmente no pensamento de Jacques Rancière, amparado por autores como Bruno Latour, Walter Benjamin, Roland Barthes, Michel Foucault, Judith Butler e Suely Rolnik. Assumimos uma abordagem fragmentária, que tangencia o método cartográfico de Suely Rolnik; as constelações benjaminianas; as cenas rancierianas; os traços barthesianos; e o composicionismo de Bruno Latour. Esta estratégia absorve certos modos de inteligibilidade comuns aos procedimentos de curadoria ou de montagem, em que a reunião de uma série de imagens singulares pode agenciar múltiplas possibilidades de sentido. Na presente Tese, ela permite a emergência de um presente composto enquanto um campo irresoluto de vibração dissensual. / [en] This Doctoral Thesis investigates some of the relationships between art, politics and social movements that permeate our present, starting from an insurgent constellation composed of exhibitions, activist actions and art works that took place in Rio de Janeiro, São Paulo and Pernambuco, in the period between 2004 and 2018. In a transversal approach to art and politics, each one of the six chapters enacts a certain aesthetic element: two actions held by Frente Três de Fevereiro collective (1) and one action held by Política do Impossível collective (2); the artistic collectivism around Prestes Maia occupation (3) and its unfolding in the exhibition Zona de Poesia Árida and in the installation work Poética do Dissenso (4); two performances conceived by Elilson (5); two pieces made by Bárbara Wagner, in collaboration with neopentecostal groups (6). Starting from this constellation, we discuss matters such as the poetics of politics, an education through silence, institutional critique and critical institutionality, a politics of mourning and memory, as well as issues related to collectives, minorities, alterities, identities and speaking places. This research draws especially on the thought of Jacques Rancière, supported by authors such as Bruno Latour, Walter Benjamin, Roland Barthes, Michel Foucault, Judith Butler and Suely Rolnik. Seeking to privilege a fragmentary approach, our method derives from Suely Rolnik s cartographic method; benjaminian s constellations; rancierian s scenes; barthesian s traces; and Bruno Latour s compositionism. This strategy absorbs certain modes of intelligibility common to curatorship, editing and assembly procedures, in which the gathering of a series of singular images can bring together multiple possibilities of meaning. Inside this Thesis, that method allows the emergence of a present compound as an unresolved field of dissenting vibration.

L'objet de cette thèse est une monographie du théâtre traditionnel tibétain, ou ache lhamo, souvent appelé lhamo tout court, tel qu'il était joué à l'époque pré-moderne (antérieure à 1950) et tel qu'il est encore joué actuellement en Région Autonome du Tibet (République Populaire de Chine) et dans la diaspora tibétaine établie en Inde et au Népal. Comme la plupart des théâtres d'Asie, il est un genre composite : à la fois drame à thématique religieuse (issue du bouddhisme mahāyāna), satire mimée, et farce paysanne, il comprend de la récitation sur un mode parlé, du chant, des percussions, de la danse et des bouffonneries improvisées, ainsi qu'un usage de masques et de costumes flamboyants, qui tranchent avec la sobriété absolue des décors (la scène est vide) et de la mise en scène. Bien qu’il ait été encouragé et financé par le gouvernement des Dalai Lama, de grands monastères et des familles aristocratiques, c’est un théâtre avant tout populaire, et non pas réservé à une élite lettrée. Cette étude a circonscrit à la fois le contenu, le rôle social, le langage artistique et les implications politiques du théâtre dans la civilisation tibétaine. <p> La méthodologie a été composée en combinant les apports et réflexions critiques de trois disciplines : l'ethnologie, la tibétologie et les études théâtrales. L'approche est fondamentalement ethnologique, en ce que la production des données repose sur une immersion de plus de deux ans parmi des acteurs de théâtre de la Région Autonome du Tibet (1996-1998) et de près d'un an parmi ceux de la diaspora d'Asie du Sud (1998-2000). Elle l’est aussi en ce que l’intention a été de constituer une intelligibilité englobante pour l'ache lhamo, c'est-à-dire de mettre au jour l'intrication des dimensions culturelle, sociale, politique, économique, rituelle et symbolique de la pratique théâtrale. L’une des contributions principales du travail est d’étoffer l’ethnologie régionale du Tibet central, mais ses conclusions et son esprit critique le placent également dans la liste déjà importante des travaux consacrés à l'invention des traditions. La tibétologie a fourni le cadre interprétatif fondamental des données recueillies. Une importance très grande a été accordée à l'histoire du pays ainsi qu'à la philologie et aux terminologies vernaculaires particulières au théâtre. L’étude s’inscrit dans l’un des courants novateurs de la tibétologie, privilégiant les aspects non plus religieux et politiques de cette civilisation, mais sa partie « populaire » et anthropologique, mettant au premier plan l’analyse des pratiques et non celle des doctrines. Des sources écrites (textes pré-modernes et sources secondaires de folkloristes tibétains et chinois) ont été intégrées aux observations. En ce qui concerne la troisième approche méthodologique, cette étude ne s'inscrit ni dans le courant des « performance studies » de Richard Schechner, ni dans l'anthropologie théâtrale d’Eugenio Barba, ni dans l'ethnoscénologie telle qu'elle est défendue par Jean-Marie Pradier, mais plutôt dans l'anthropologie du théâtre, au sens d'étude interprétative et multidimensionnelle, utilisant les référents établis de l'anthropologie et les savoirs indigènes pour décrire une expression culturelle déterminée et reconnue comme un genre à part entière, le théâtre. <p> Les résultats sont présentés en trois parties, qui peuvent être résumées de manière lapidaire par trois adjectifs : culturelle, sociologique, artistique. La première partie, intitulée "Le cadre culturel du lhamo avant 1959", est consacrée au contexte (historique, religieux et littéraire) dans lequel le théâtre est inscrit, ainsi qu’aux textes (leur contenu, leurs modalités de composition et de transmission) qui révèlent l'imaginaire propre du théâtre. La deuxième partie est une analyse de "L'ancrage sociologique du lhamo". Les conditions matérielles des représentations y sont examinées : les divers types de troupes, leur organisation interne, le statut social des acteurs, l'inscription de la pratique du théâtre dans le système socio-économique pré-moderne, et les rapports d'obligations tissés entre acteurs et seigneurs, ainsi qu'entre acteurs et commanditaires des représentations. La dernière partie, "Art et savoirs des acteurs", jette un éclairage sur la matière vive du lhamo. Elle rend compte des conceptions, valeurs, plaisirs et difficultés de ceux qui pratiquent cette forme d'art. Les divers registres de leur discipline sont analysés en détail : costumes, masques, gestuelle, chant, accompagnement musical (percussions) et sentiments exprimés. L'appréciation qui en est faite par le public est aussi consignée. Au cœur de cette partie se trouve une réflexion sur la nature rituelle et non rituelle du lhamo, et sur les liens éventuels de ce dernier avec d'autres activités religieuses, telles la possession. Les dernières pages de la thèse constituent un épilogue, qui fait le point sur la situation contemporaine, donc les implications politiques, du théâtre des deux côtés de l'Himalaya. <p> L'image anthropologique du lhamo qui a pu être dégagée de ces trois volets d'analyse le fait apparaître comme essentiellement ambivalent : le lhamo est un théâtre de paradoxes. À l'image de la civilisation tibétaine, il est composite et cohérent à la fois. Sa cohérence réside dans son ambivalence : il traverse et relie des aspects contrastés de la culture. Il introduit du jeu entre les polarités que Tibétains et tibétologues établissent parfois un peu trop à la hâte entre culture savante et culture populaire, écriture et oralité, éléments exogènes et apports autochtones, bouddhisme et cultes qui ont précédé son implantation, aspiration religieuse et intérêts mondains, spécialistes rituels et bénéficiaires qui les rémunèrent. Combinant fonction pédagogique et fonction rituelle, sacré compassé du texte et irrévérence grivoise des improvisations, le lhamo correspond aussi très bien à la manière dont les théâtrologues appréhendent le théâtre : comme un objet curieux, créé par les hommes et qui pourtant ne cesse de les intriguer, comme s'il était venu d'ailleurs.

O interesse desta tese reside na persistência da questão da \"arte brasileira\" na crítica de Frederico Morais (Belo Horizonte, 1936) em três períodos distintos de sua produção, os quais nomeio, de acordo com o comportamento de seu discurso: \"Contestação\" (1966-1973), \"Dúvidas\" (1974-1984) e \"Conciliação\" (1985-2012). Parte-se do fato de que a formulação de um debate em torno da definição do que seria uma \"arte brasileira\" surgiu ainda no século XIX - embora já tivesse se delineado em termos literários no século anterior - e foi se transformando com o passar do tempo, mantendo-se vivo, porque ainda em discussão, durante o século seguinte. Nesse contexto, procurou-se identificar, na produção de Frederico Morais, a sobrevivência da questão do nacional e, ainda, mostrar de que maneira ele se utiliza de uma prática constante de revisão da história - por meio de textos publicados na imprensa, mas também manuais, cronologias e \"enciclopédias\" - para manter essa discussão em pauta. No Capítulo 1 (\"Contestação\") analiso o primeiro período de sua crítica de arte, caracterizado pela adoção de um discurso assertivo e militante, em defesa de uma \"arte brasileira\" como um espaço privilegiado para a experimentação e a resistência. Nessa época, ele apoia incondicionalmente a \"vanguarda brasileira\", movimento que, segundo o autor, estaria sediado no Rio de Janeiro, expandindose a partir da antiga capital para o restante do país. No Capítulo 2 (\"Dúvidas\") trato de sua fase de transição, em que se revela certo desencanto com a situação da vanguarda no Brasil. No Capítulo 3 (\"Conciliação\") abordo o segundo período do crítico, quando se consolida o processo em que Frederico Morais abdica da defesa do \"novo\" enquanto principal saída para a \"arte brasileira\", passando a revisar tanto suas posições como parte significativa da história da arte brasileira. Nesse percurso, seus vai adotando posturas mais conciliatórias, menos intransigentes para o que entende como possibilidades de uma produção artística de caráter brasileiro. Esta tese procurou demonstrar que é possível encontrar ecos do desejo por uma arte nacional em críticas, ensaios e artigos que atravessam as três fases do percurso de Morais. Buscou ainda apontar as contradições e fragilidades que surgiram entre duas posturas distintas do crítico em relação à produção artística do período no país: uma, a escolha pelo que seria \"genuinamente nacional\", aproximando-se de algo que singularizasse a arte produzida no Brasil em relação àquela que se apresentava assertivamente como internacional; outra, colocandose contra o risco do isolamento, do atraso e do descompasso em relação ao mundo, adotava a opção por se deixar levar pelas correntes artísticas que vinham dos Estados Unidos e Europa. / The interest of this thesis lies in the persistence of the question of Brazilian art in the criticism produced by Frederico Morais (Belo Horizonte, 1936) in three distinct periods of his production, which I have named, according to the behavior of his discourse, as \"Contestation\" (1966-1973), \"Doubts\" (1974-1984) and \"Conciliation\" (1985-2012). The starting point resides in the debate formulated around the definition of what Brazilian art is, which emerged in the nineteenth century -- although it had already been delineated in literary terms in the previous century --, a debate that changed over time, kept alive in discussion throughout the following century. In this context, the thesis aims to identify the survival of this question of the national in Morais\' production. It also proposes to show -- through texts published in the press, but also in chronologies, manuals and \"encyclopedias\" -- how he makes constant use of historical revision to keep the discussion relative to Brazilian art on the agenda of public debate. In Chapter 1, I analyze his first period, characterized by the assertive and militant discourse adopted in defense of Brazilian art as a privileged space for experimentation, resistance and, above all, for the avant-garde. In his view, this movement was based in Rio de Janeiro, expanding from the former capital to the rest of the country. In Chapter 2, I deal with his transitional period, which reveals a certain disenchantment with the situation of the avant-garde in Brazilian art. In Chapter 3, I address the critic\'s second period, which consolidates the process in which Morais abdicates the defense of the \"new\" as the principal \"way ahead\" for Brazilian art, and comes to revise not only his positions, but a significant part of the history of the Brazilian art as well. Over the course of time, Morais gradually adopts positions that are less intransigent and more conciliatory regarding what he understands as possibilities for an artistic production with Brazilian character. This thesis has attempted to demonstrate the possibility of finding echoes of this desire for a national art in criticism, essays and articles that intersect the three phases in the trajectory of Frederico Morais. It has also sought to indicate the contradictions and fragilities that emerged between two distinct stances adopted by the critic in relation to the period\'s artistic production: the option for what could be considered \"genuinely national\", making advances in the direction of something that would singularize it in relation to an art that presents itself assertively as international; or the option to counter the danger of isolation, backwardness and being out-of-step with the world, by choosing to be carried along by the artistic currents imported from the United States and Europe.

O trabalho investiga a feição dos versos que dão vida à peça Gota dágua de Chico Buarque e Paulo Pontes, escrita e encenada em 1975. Procura desvendar a maneira como os versos se compõem na formação da estrutura dramática da peça e os efeitos que produz no leitor ou no espectador. Como a peça dialoga intensamente com o momento cultural e político dos anos 1970, há uma busca do ponto de encontro entre a realização estética concebida e os projetos culturais ou outras motivações extra-textuais que tenham influenciado a sua composição. O estudo abrange a realização sonora que se dá (ou que se imagina) no palco, os aspectos poéticos, lírico-musicais da peça, sua característica dramático-épica e os temas e idéias que permeiam o plano de conteúdo da obra. A análise foi feita em grande parte contrapondo Gota dágua com a obra que pretende recriar: a Medeia de Eurípides. Os diversos elementos manipulados no trabalho ora se complementam, ora se chocam, criando uma mescla significativa e de apreciação controversa, sobre a qual artistas e pesquisadores têm se debruçado no questionamento da produção teatral brasileira. Tais elementos são a absorção do popular e do erudito, da identificação catártica e do distanciamento crítico, da experiência totalizante do mito e daquela que é comum, socialmente demarcada por delineamentos temporais e espaciais, dentre outros exemplos. / This paper goes into the production process of the poetic lines which give life to Chico Buarque and Paulo Pontes´s play Gota dágua, published and performed in 1975. It aims to understand how they are put together to compose its drama structure as well as the effects they cause on the reader and audience. Since the play is deeply engaged in the cultural and political scenario of the 1970s, this analysis also seeks to examine the connections between its esthetics and the cultural projects or any other points of influence that may have motivated its form. The study involves the plays sounds listened to (or imagined) on stage such as the play´s poetic, musical-lyric aspects, its epic-drama characteristics and many of the themes and ideas that constitute the works content. The analysis frequently contrasts Gota dágua and the play it intends to recreate: Medea by Euripides. The various elements dealt with in Gota dágua are sometimes complementary, sometimes clashing, accounting for a meaningful mix and giving rise to controversial appraisal upon which researchers and artists have given a lot of thought when pondering about the Brazilian contemporary drama experience. Such contrasts bring together the resource to the popular and the scholarly, the use of cathartic identification and critical distance, the mythical and the anonymous ordinary human trajectory, among other examples.

This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

Cette thèse analyse la position problématique et paradoxale du groupe Forces Nouvelles dans le large mouvement du retour à la figuration réaliste qui s’opère dans l’esthétique de l’entre-deux-guerres. Lancé en 1935 comme un groupe à la fois antimoderne et anticonformiste, Forces Nouvelles avance un nouveau langage pictural, un réalisme plus sensible investi dans l’expression de l’intériorité de l’être et éloigné de toute connotation sociale et idéologique, au-delà de toute trivialité ou de classicisme éteint. Pour beaucoup, ce réalisme d’esprit humaniste donnait au groupe un profil esthète et noble. Cette ambivalence entre réalisme et classicisme, entre activisme et esthétisme, est perpétuée dans la critique d’art même après la dissolution de l’ensemble en 1942. Cette identité ambiguë et obscure de Forces Nouvelles prend son sens une fois mise en relation avec les quêtes spirituelles et idéologiques de l’intelligentsia des années 1930. Révoltée contre l’idéologie matérialiste - dans sa forme libérale ou marxiste -, cette intelligentsia non-conformiste aspire à une nouvelle modernité plus spirituelle et morale ; explorant une voie alternative, ni à droite ni à gauche, elle vire souvent au conservatisme le plus anachronique et frôle la dérive fasciste. Forces Nouvelles, partageant une forme de pensée analogue à celle de l’élite contestataire – à la fois nihiliste et synthétique –, s’investit dans la recherche d’une esthétique originale, moderne et spirituelle, dans la recherche d’une nouvelle Renaissance ; s’inspirant d’une tradition picturale supposée authentique, le groupe élabore jusqu’au bout un style réaliste, grave et austère, effleurant l’archaïsme. En résonance avec la vision de cette génération non-conformiste, avec l’avènement d’un nouvel ordre moral, Forces Nouvelles propose un style réaliste au fondement existentiel comme horizon d’une nouvelle esthétique ultramoderne. / This dissertation analyses the problematic, paradoxical position of the group known as Forces Nouvelles within the large movement of a return to realistic figuration, which takes place in the context of interwar aesthetics. Forces Nouvelles, launched in 1935 as an anti-modern, anti-conformist group, proposes a new pictorial language, a more sensitive realism at the service of the expression of the interiority of human beings and remote from social and ideological associations, beyond trivial realism and jaded classicism. This humanistic realism would confer a noble aesthete's profile to the group. Such ambivalence between realism and classicism, between activism and aestheticism is carried over in art criticism even after the dissolution of the group in 1942. This ambiguous, obscure identity of Forces Nouvelles becomes meaningful in the light of the spiritual and ideological quest of the 1930s intelligentsia, which revolted against materialist ideology, whether liberal or Marxist, aspiring to a new, more spiritual and moral, modernity. In its exploration of a new alternative, which is neither right nor left-oriented, it veers towards the most anachronistic conservatism verging on fascism. Having intellectual affinities with the radical elite, this both nihilistic and eclectic group, strives to achieve original aesthetics - modern and spiritual - and a new Renaissance. Based on a supposed authentic pictorial tradition Forces Nouvelles adopts a realistic style, grave and sober, verging on archaism. Resonating with the vision of this non-conformist generation and the advent of a new moral order Forces Nouvelles puts forward a realistic style with an existential basis as the aesthetics of ultra-modernity.

La recherche porte sur les relations entre les acteurs politiques et l’art subversif et leur positionnement face à des thèmes récurrents tels l’antisémitisme, l’oubli du passé, la condition de la femme, l’écologie. Partant des théories existantes sur les rapports entre l’art engagé et le politique, il s’agit d’étudier les œuvres de quatre artistes représentatifs à la fois de l’évolution des positions politiques et des techniques nouvelles à travers l’histoire de 1945 à nos jours, dans la IIe République d’Autriche : le sculpteur Alfred Hrdlicka, le peintre et architecte Friedensreich Hundertwasser, l’actionniste viennois Günter Brus, la féministe Valie Export. Ces artistes bousculent l’ordre établi à travers leur art agressif et leurs écrits. Le but est de définir la nature et le degré de leur protestation et de déterminer dans quelle mesure ils ont participé au débat démocratique et à la modernisation de la société autrichienne ainsi qu’à la construction identitaire de l’Autriche après 1945. / The research relates to the relation between the political actors and subversive art and their respective position on dominant themes such as anti-Semitism, the denial of the Nazi past, the status of women, ecology. From existing theories on relations between engaged art and politics, it is a question of studying the works of art of four artists representative on both policy statements and newer technologies through history from 1945 up to now, in the Second Republic of Austria : the sculptor Alfred Hrdlicka, the painter and architect Friedensreich Hundertwasser, the Viennese actionist Günter Brus, the feminist Valie Export. Each one, in his own way, shakes up the established order through his aggressive art and writings. The aim is to specify the type and level of protest of these artists and to assess to what extent they have participated in the democratic debate and modernisation within Austrian society as well as in the identity building of Austria after 1945.

O interesse desta tese reside na persistência da questão da \"arte brasileira\" na crítica de Frederico Morais (Belo Horizonte, 1936) em três períodos distintos de sua produção, os quais nomeio, de acordo com o comportamento de seu discurso: \"Contestação\" (1966-1973), \"Dúvidas\" (1974-1984) e \"Conciliação\" (1985-2012). Parte-se do fato de que a formulação de um debate em torno da definição do que seria uma \"arte brasileira\" surgiu ainda no século XIX - embora já tivesse se delineado em termos literários no século anterior - e foi se transformando com o passar do tempo, mantendo-se vivo, porque ainda em discussão, durante o século seguinte. Nesse contexto, procurou-se identificar, na produção de Frederico Morais, a sobrevivência da questão do nacional e, ainda, mostrar de que maneira ele se utiliza de uma prática constante de revisão da história - por meio de textos publicados na imprensa, mas também manuais, cronologias e \"enciclopédias\" - para manter essa discussão em pauta. No Capítulo 1 (\"Contestação\") analiso o primeiro período de sua crítica de arte, caracterizado pela adoção de um discurso assertivo e militante, em defesa de uma \"arte brasileira\" como um espaço privilegiado para a experimentação e a resistência. Nessa época, ele apoia incondicionalmente a \"vanguarda brasileira\", movimento que, segundo o autor, estaria sediado no Rio de Janeiro, expandindose a partir da antiga capital para o restante do país. No Capítulo 2 (\"Dúvidas\") trato de sua fase de transição, em que se revela certo desencanto com a situação da vanguarda no Brasil. No Capítulo 3 (\"Conciliação\") abordo o segundo período do crítico, quando se consolida o processo em que Frederico Morais abdica da defesa do \"novo\" enquanto principal saída para a \"arte brasileira\", passando a revisar tanto suas posições como parte significativa da história da arte brasileira. Nesse percurso, seus vai adotando posturas mais conciliatórias, menos intransigentes para o que entende como possibilidades de uma produção artística de caráter brasileiro. Esta tese procurou demonstrar que é possível encontrar ecos do desejo por uma arte nacional em críticas, ensaios e artigos que atravessam as três fases do percurso de Morais. Buscou ainda apontar as contradições e fragilidades que surgiram entre duas posturas distintas do crítico em relação à produção artística do período no país: uma, a escolha pelo que seria \"genuinamente nacional\", aproximando-se de algo que singularizasse a arte produzida no Brasil em relação àquela que se apresentava assertivamente como internacional; outra, colocandose contra o risco do isolamento, do atraso e do descompasso em relação ao mundo, adotava a opção por se deixar levar pelas correntes artísticas que vinham dos Estados Unidos e Europa. / The interest of this thesis lies in the persistence of the question of Brazilian art in the criticism produced by Frederico Morais (Belo Horizonte, 1936) in three distinct periods of his production, which I have named, according to the behavior of his discourse, as \"Contestation\" (1966-1973), \"Doubts\" (1974-1984) and \"Conciliation\" (1985-2012). The starting point resides in the debate formulated around the definition of what Brazilian art is, which emerged in the nineteenth century -- although it had already been delineated in literary terms in the previous century --, a debate that changed over time, kept alive in discussion throughout the following century. In this context, the thesis aims to identify the survival of this question of the national in Morais\' production. It also proposes to show -- through texts published in the press, but also in chronologies, manuals and \"encyclopedias\" -- how he makes constant use of historical revision to keep the discussion relative to Brazilian art on the agenda of public debate. In Chapter 1, I analyze his first period, characterized by the assertive and militant discourse adopted in defense of Brazilian art as a privileged space for experimentation, resistance and, above all, for the avant-garde. In his view, this movement was based in Rio de Janeiro, expanding from the former capital to the rest of the country. In Chapter 2, I deal with his transitional period, which reveals a certain disenchantment with the situation of the avant-garde in Brazilian art. In Chapter 3, I address the critic\'s second period, which consolidates the process in which Morais abdicates the defense of the \"new\" as the principal \"way ahead\" for Brazilian art, and comes to revise not only his positions, but a significant part of the history of the Brazilian art as well. Over the course of time, Morais gradually adopts positions that are less intransigent and more conciliatory regarding what he understands as possibilities for an artistic production with Brazilian character. This thesis has attempted to demonstrate the possibility of finding echoes of this desire for a national art in criticism, essays and articles that intersect the three phases in the trajectory of Frederico Morais. It has also sought to indicate the contradictions and fragilities that emerged between two distinct stances adopted by the critic in relation to the period\'s artistic production: the option for what could be considered \"genuinely national\", making advances in the direction of something that would singularize it in relation to an art that presents itself assertively as international; or the option to counter the danger of isolation, backwardness and being out-of-step with the world, by choosing to be carried along by the artistic currents imported from the United States and Europe.

Made available in DSpace on 2016-12-08T16:52:07Z (GMT). No. of bitstreams: 1 Eder.pdf: 38290 bytes, checksum: 425bd9981240596ba378a95444691241 (MD5) Previous issue date: 2010-09-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to compose an overview of the history of Ruth Escobar s theatrical productions between 1959-1981, during which the actress/producer held the largest number of shows, and produced three international theater festivals. The text shows how the presence of Ruth Escobar in Brazilian Theatre contributed significantly to boost production scenic and theatrical aesthetics, either by making bold stage productions, is to promote exchanges with international directors. In the first part discusses the construction of Ruth Escobar s persona, the challenges faced by the Portuguese in their travels around the world and their strategies to turn adversity into achievement, a practice that has used throughout his career as a producer. This thesis addresses the first theatrical experiences of the actress and businesswoman in São Paulo, and describes the design and execution of theater projects, such as the National Popular Theater and the construction of its own theater, performed in a sociopolitical context of authoritarian military dictatorship. The second part of this research reflects on the difficulties they faced as Ruth Escobar theatrical producer to promote the three theater festivals in São Paulo in the decades of 1970/1980, which were important events for the national scene. The paper presents information on shows and festivals presented in this material relates to the monitoring of critical. Finally, the essay reflects on the inclusion of Ruth Escobar and his artistic practice and policy as part of renewal of the national scene / O presente trabalho tem como objetivo compor um panorama sobre a trajetória das produções teatrais de Ruth Escobar entre 1959-1981, período no qual a atriz/produtora realizou a maior quantidade de espetáculos, além de produzir três festivais internacionais de teatro. O texto aponta como a presença de Ruth Escobar no Teatro Brasileiro contribuiu significativamente para alavancar a produção cênica e oxigenar a estética teatral, seja através da realização de arrojados espetáculos, seja com a promoção de intercâmbios com encenadores internacionais. Na primeira parte deste se discute a construção da persona Ruth Escobar, os desafios enfrentados pela portuguesa em suas viagens pelo mundo e suas estratégias para converter situações adversas em conquistas, prática que utilizou ao longo de sua carreira como produtora. Essa dissertação aborda as primeiras experiências teatrais da atriz e empresária em São Paulo, e descreve a concepção e a execução de projetos teatrais, tais como o Teatro Popular Nacional, e a construção de seu próprio teatro, realizados em um contexto sociopolítico autoritário da ditadura militar. A segunda parte dessa pesquisa reflete sobre as dificuldades que Ruth Escobar enfrentou como produtora teatral para promover os três festivais de teatro na cidade de São Paulo nas décadas de 1970/1980, que constituíram importantes eventos para a cena nacional. O texto apresenta informações sobre os espetáculos apresentados nos festivais e relaciona esse material com o acompanhamento da crítica. Finalmente, a dissertação reflete sobre a inserção de Ruth Escobar e de sua prática artística e política como elemento de renovação da cena nacional