Esta pesquisa tem como objetivo descrever e analisar a recepção da obra de Bertolt Brecht no Brasil, tendo como guia o processo de tradução, que teve início no Brasil em 1948. A teoria que norteia essa pesquisa é fundamentada nos Estudos Descritivos da Tradução, mais precisamente na Teoria dos Polissistemas de Itamar Even-Zohar, os conceitos de reescritura e patronagem de André Lefevere, as normas da tradução de Gideon Toury, somados à obra de Gérard Genette Paratextos Editoriais. Essa teoria é a base para que esta pesquisa faça a distinção entre quatro períodos de tradução observados no material que compõe o corpus dessa pesquisa. Além da fortuna crítica sobre Brecht no Brasil, faz parte dessa pesquisa notícias sobre o dramaturgo nos jornais do Grupo Folha (Folha da Noite, Folha da Manhã e Folha de São Paulo) e do jornal O Estado de São Paulo, disponíveis na internet nos acervos digitais dos respectivos veículos de comunicação. Através da análise da atitude tradutória em cada período são contrapostos os resultados obtidos pelo sistema teatral brasileiro dessa recepção com as teorias de Brecht para o teatro e para a tradução. Dessa maneira, faz-se um estudo minucioso de cada período: 1) 1948 a 1958 quando há apenas a tradução cultural das ideias e dos aspectos do teatro de Brecht no Brasil abordando sua obra como clássica; 2) 1958 a 1968 respeitando o modelo estabelecido no período anterior inicia a tradução de textos de Brecht como uma obra clássica, contradizendo a visão de teatro de Brecht e enfrentando muitos problemas de ordem técnica para encenar Brecht; 3) 1968 a 1998 marcado fortemente pela experimentação teatral, encontra seu maior expoente no Grupo Oficina, que renova a linguagem teatral brasileira e dá novos rumos à tradução de Brecht, se aproximando muito da visão de teatro de Brecht; 4) depois de 1998 contando com mais recursos técnicos e com menos grupos de repertório, o cenário teatral volta a buscar uma encenação mais fiel a Brecht se aproximando mais do segundo momento de recepção / This research has the goal of describing and analyzing the history of the reception of Brechts work in Brazil, having as a guideline the process of translation, which began in Brazil in 1948. The theory that helps us to accomplish this task is the Descriptive Translation Studies, more precisely the Polysystem Theory by Itamar Even-Zohar, the translation norms by Gideon Toury, and the concepts of rewriting and patronage by André Lefevere. In addition to this base theory, the work of Gérard Genette, Paratexts, supports the identification of distinct periods of reception, also the agents involved in each period and the turning points that led to new approaches to the work of Brecht in Brazil. Besides the bibliography about Brecht in Brazil, the corpus of this research is composed by news published in two major Brazilian newspapers, Folha de São Paulo (before 1960 it was called Folha da Manhã morning edition and Folha da Noite evening edition) and O Estado de Sao Paulo, which have all editions in digital format available online. By analyzing the approach translators had towards Brechts work in each period in Brazil, it is possible to analyze the productivity each different approach had in comparison to Brechts own theory for theater and translation. Therefore, a thorough analysis is made of this material in each period: 1) 1948 to 1958 period in which there is a cultural translation of Brechts ideas, but there are no plays on stage and no texts published, in this period Brecht is considered a classic author; 2) 1958 to 1968 the first plays by Brecht are taken to stage, and few texts are published, the agents involved face a lot of technical problems to accomplish this task but nonetheless they comply with the image stablished in the previous period, which contradicts Brechts conception of theatre and translation; 3) 1968 to 1998 there is a turning point to Brazilian theatre scene marked by extreme experimentation, the Oficina Theatre is the major exponent of this period, Brechts work is no longer considered a classic, which cannot be tempered with, and this approach is the closest that Brazil gets to Brechts ideal of theatre; 4) after 1998 with more technical resources Brazilian theatre once more approaches Brecht as a classic and try to recreate his plays in Brazil

Esta dissertação busca refletir sobre a vinculação estabelecida por Walter Benjamin entre as obras de Franz Kafka e Bertolt Brecht, concentrando-se principalmente no tema da arte enquanto mercadoria. A primeira busca definir o tema de pesquisa: a arte enquanto mercadoria, tomando como ponto de partida os estudos de Walter Benjamin. A segunda parte concentrou-se no trabalho de Brecht, mais especificamente na Ópera de três vinténs e o Processo de três vinténs, nos quais a arte, enquanto entretenimento torna-se mais evidentemente uma mercadoria. Na parte três foi focado o trabalho de Kafka com o tema escolhido, sendo analisados os romances O desaparecido ou Amerika e O processo e as narrativas Na Galeria, Primeira Dor e Um artista da fome. A quarta parte abarcou a discussão entre Benjamin e Brecht acerca da obra de Kafka. Já na última parte, tratou-se da atualidade do tema pesquisado por meio da breve explicitação das obras de três autores posteriores: Heiner Müller, Peter Weiss e Straub-Heuillet. / This masters degree dissertation aims to reflect about the connections established by Walter Benjamin between Franz Kafkas and Bertolt Brechts works, focusing especially on the subject of art as commodity.

O presente estudo consiste na análise e na interpretação crítica do texto teatral A Viagem Camões Poeta prático, de autoria do encenador e dramaturgo português Helder Costa, sob a óptica do emprego de recursos intertextuais como a paródia, a paráfrase e a estilização, que compõem o tecido textual, que traz à baila episódios da história lusitana, trajados em novas roupagens, distintas, sob diversos aspectos, daquelas que predominam no imaginário coletivo luso. A partir da visão brechtiana de teatro, de que a função social dessa arte reside, em grande medida, em despertar a consciência popular para a situação do presente por meio da reflexão sobre o passado, o texto teatral, objeto da presente pesquisa, estabelece diálogo entre o pretérito áureo das expansões marítimas e o contexto de escrita da peça, logo após o término da ditadura salazarista. Outro enfoque desse trabalho é o atrito gerado a partir do emprego da metaficção historiográfica no preenchimento das lacunas deixadas pelos incontestáveis fatos históricos (mote para a escrita da peça teatral de Helder Costa), que são ficcionalizados de modo a evidenciar questões acerca da arbitrariedade das fronteiras entre Literatura e História. Observa-se, ora no plano macro, ora no plano micro, que a peça de Helder Costa configura-se como uma proposta de revisão da essência saudosista do ser português. / This study consists in the analysis and the critical interpretation of the theatrical text A Viagem Camões Poeta prático (The Journey Camões Practical poet), written by the Portuguese director and playwright Helder Costa, from the perspective of the employment of intertextual features such as parody, paraphrase and styling, which compose the textual content, which narrates episodes of the Portuguese history, repackaged, different in several respects from those that predominate in the Portuguese collective imagination. Based on the perspective of the Brechtian theater, that the social function of this art largely lies in the awakening of the popular awareness of the present through a reflection about the past, the theatrical text, object of this research, establishes a dialogue between the golden past of the maritime expansions and the context of the period in which the play was written, soon after the end of Salazars dictatorship. Another focus of this work is the friction generated from the use of historiographical metafiction in filling the gaps left by the incontrovertible historical facts (a motto for the writing of Helder Costas play), which are fictionalized in order to highlight questions regarding the arbitrariness of the borders between Literature and History. It can be observed, both in the macro and in the micro plan, that Helder Costas play is configured as a proposal to revise the nostalgic essence of the Portuguese being.

O presente estudo consiste na análise e na interpretação crítica do texto teatral A Viagem Camões Poeta prático, de autoria do encenador e dramaturgo português Helder Costa, sob a óptica do emprego de recursos intertextuais como a paródia, a paráfrase e a estilização, que compõem o tecido textual, que traz à baila episódios da história lusitana, trajados em novas roupagens, distintas, sob diversos aspectos, daquelas que predominam no imaginário coletivo luso. A partir da visão brechtiana de teatro, de que a função social dessa arte reside, em grande medida, em despertar a consciência popular para a situação do presente por meio da reflexão sobre o passado, o texto teatral, objeto da presente pesquisa, estabelece diálogo entre o pretérito áureo das expansões marítimas e o contexto de escrita da peça, logo após o término da ditadura salazarista. Outro enfoque desse trabalho é o atrito gerado a partir do emprego da metaficção historiográfica no preenchimento das lacunas deixadas pelos incontestáveis fatos históricos (mote para a escrita da peça teatral de Helder Costa), que são ficcionalizados de modo a evidenciar questões acerca da arbitrariedade das fronteiras entre Literatura e História. Observa-se, ora no plano macro, ora no plano micro, que a peça de Helder Costa configura-se como uma proposta de revisão da essência saudosista do ser português. / This study consists in the analysis and the critical interpretation of the theatrical text A Viagem Camões Poeta prático (The Journey Camões Practical poet), written by the Portuguese director and playwright Helder Costa, from the perspective of the employment of intertextual features such as parody, paraphrase and styling, which compose the textual content, which narrates episodes of the Portuguese history, repackaged, different in several respects from those that predominate in the Portuguese collective imagination. Based on the perspective of the Brechtian theater, that the social function of this art largely lies in the awakening of the popular awareness of the present through a reflection about the past, the theatrical text, object of this research, establishes a dialogue between the golden past of the maritime expansions and the context of the period in which the play was written, soon after the end of Salazars dictatorship. Another focus of this work is the friction generated from the use of historiographical metafiction in filling the gaps left by the incontrovertible historical facts (a motto for the writing of Helder Costas play), which are fictionalized in order to highlight questions regarding the arbitrariness of the borders between Literature and History. It can be observed, both in the macro and in the micro plan, that Helder Costas play is configured as a proposal to revise the nostalgic essence of the Portuguese being.

A presente tese tem por objetivo o estudo das estratégias de polidez empregadas em situações conflituosas no texto teatral Leben des Galilei de Bertolt Brecht. O conceito de conflito foi definido como uma situação de discordância a partir de choque de interesses e/ou opiniões a respeito de um tema abordado. A partir deste conceito, foram extraídos seis fragmentos da referida peça nas quais se observavam tal situação e a eles foram aplicadas as bases teóricas elencadas para o trabalho. Para atingirmos nosso objetivo, consideramos as teorias de trabalho da face elaboradas por Goffman, as estratégias de polidez postuladas por Brown & Levinson. Ao longo da pesquisa, a argumentação mostrou-se importante para a análise e, portanto, recorremos aos pressupostos da teoria da argumentação segundo estudos de Perelman & Olbrechts-Tyteca. Com as análises, foi possível identificar, respectivamente, um grande número de estratégias de polidez positiva, relativamente pouca freqüência de polidez negativa, ocorrência de estratégias off record utilizadas principalmente no uso agressivo do trabalho da face e ocorrências bald on record dentro do esperado. Quanto à argumentação, constata-se presença maciça de razões e exemplos e grande uso de perguntas retóricas e argumento de autoridade. / This study aims to investigate politeness strategies used in conflict situations in the play Leben des Galilei by Bertolt Brecht. Conflict was defined as a situation of discordance arising from a clash of interests or opinions about a given theme. Six fragments of the play presenting such a situation were selected and analyzed according to the theories of face-work by Goffman and politeness strategies by Brown and Levinson. Due to the importance it assumed during the research, fundamentals of argumentation by Perelman & Olbrechts-Tyteca were also brought into the theoretical basis. The analysis has identified a high frequency of strategies for positive politeness, relatively few strategies for negative politeness, off-record strategies used mainly for aggressive face-work purposes and bald on record occurrences within the expected range. Regarding argumentation, reasons and examples are abundantly provided and rhetorical questions and authority arguments largely used.

Au cœur de l’élan moderniste qui anime le XXe siècle, l’expression « théâtre musical » devient l’étendard d’une recherche esthétique de nouvelles formes de rencontre scénique entre le théâtre et la musique. Que l’objectif soit de moderniser l’opéra, de le remplacer, de réformer le théâtre ou de créer un nouveau genre à mi-chemin entre les deux arts, les collaborations rassemblant compositeurs et hommes de théâtre entendent présenter des œuvres actuelles, qui balaient les modèles esthétiques jusqu’alors dominants. Si l’approche du théâtre musical est complexe tant il s’avère polymorphe, le contexte social et la proximité des artistes avec le milieu activiste nous invitent à considérer également les œuvres selon leurs qualités militantes et/ou politiques. À l’heure où les sociétés européennes sont ébranlées des guerres mondiales et des modèles totalitaires qui donnent lieu à une instabilité sociale importante, l’espace esthétique pluridisciplinaire du théâtre musical se révèle propice à la réflexion philosophique et à l’expérimentation des modalités de protection et d’émancipation du politique. L’utopie artistique, qui incite à repenser les cadres formels du théâtre musical, dans lequel les disciplines sont travaillées selon un système de relation égalitaire et d’autonomie des voix, cultive aussi des modèles d’utopie politique. Ainsi, après avoir exploré les ambitions esthétiques du théâtre musical et leur traduction dans les œuvres, nous ne manquons pas d’étudier sa relation dialogique avec la pensée politique qui lui est contemporaine. C’est en effet parce que son espace artistique (processus et productions) convoque l’utopie politique pour relever les défis esthétiques de la pluridisciplinarité, que le théâtre musical devient le lieu privilégié d’une réflexion philosophique sur la pratique militante et sur les moyens de l’exercice politique, ainsi que sur l’idéal démocratique dont nous sommes aujourd’hui les héritiers. / At the core of the modernist impetus that animates the 20th century, the phrase “musical theatre” becomes the emblem of the aesthetic search of new ways of mixing theatre and music on the stage. Whether the aim is to modernize the opera, reform the dramatic art, or create a new genre halfway between both arts, composers, dramatists and producers collaborate to produce modern works and dispense with the old prevailing aesthetic model. Approaching musical theatre is quite a challenge, as it is so polymorphic; and the social context and the artists’ closeness to the activists’ world invite us, when examining their works, to consider their militant and political standpoints. At a time when European societies are weakened by World Wars and totalitarian regimes that give rise to an important social instability, the multidisciplinary aesthetic space of the musical theatre turns out to favour philosophical thought and the experimentation of methods for the protection and the emancipation of politics. The artistic utopia, which encourages us to reconsider the formal pattern of musical theatre where the arts are used on equal terms and the voices are independent, also promotes a political utopia. Then, after exploring the aesthetic ambitions of musical theatre and how they are technically expressed in the works, we are sure to study their intricate two-way relationship with contemporary political thought. Because its artistic space (process and productions) uses political utopia to take up the aesthetic challenge of multidisciplinarity, musical theatre turns out to be the ideal place for a philosophical appraisal of the militant practice, of the degree of political exercise as well as of the democratic ideal it has passed on to us.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:46:41Z No. of bitstreams: 1 Luciana Moura Barreto.pdf: 2966425 bytes, checksum: 0b98d971d7f505cb9ce14840bb743e73 (MD5) / Made available in DSpace on 2017-07-11T12:46:41Z (GMT). No. of bitstreams: 1 Luciana Moura Barreto.pdf: 2966425 bytes, checksum: 0b98d971d7f505cb9ce14840bb743e73 (MD5) Previous issue date: 2017-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main purpose of this study is to analyse the different method executions from Brecht in the cinema. This concerns more particularly on finding the strangeness effect, as proposed in Brechtian epic theatre, in the context of the following group of cinematographic achievements scripted by the playwright himself: Zeitprobleme:wie der Arbeiter wohnt (1930; How the berliner worker lives), by Slatan Dudow, Kuhle Wampe oder: Wem gehort die Welt? (1932; Kuhle Wampe or Who owns the worls?) by Slatan Dudow and Hagmen also die! (1943) by Fritz Lang. The theoretical references are from Brechtian doctrinaire along his main enshrined studies, for instance, those studies proposed by playwrights like Fredreric Ewen, Walter Benjamin, Frederic Jameson and, in Brazil, Gerd Bornheim and Fernando Peixoto. In addition to this first theoretical position about theory of cinema and works of filmic analysis, such as Eisenstein, Robert Stam, Jacques Aumont, Laurente Jullier, Michel Marie, Michèle Lagny and, in Brazil, Ismail Xavier. It will be considered theatrical elements which are part of the studied filmography as well as text, music, players acting, scenario, clothing, camera angle and installation, trying to highlight the existence of Brechtian methodology in these film productions / Esta pesquisa tem como principal objetivo analisar as diferentes execuções do método de Brecht no cinema. Trata-se mais especificamente de reencontrar o efeito do estranhamento, tal como foi proposto no teatro épico brechtiano, no âmbito do seguinte conjunto de realizações cinematográficas roteirizadas pelo próprio dramaturgo: Zeitprobleme:wie der Arbeiter wohnt (1930; Como vive o trabalhador berlinense), de Slatan Dudow, Kuhle Wampe oder: Wem gehort die Welt? (1932; Kuhle Wampe ou A quem pertence o mundo?) de Slatan Dudow e Hagmen also die! (1943; Os carrascos também morrem!) de Fritz Lang. Os referenciais teóricos contemplados vão dos textos doutrinários brechtianos aos principais estudos que lhes foram consagrados, a exemplo daqueles propostos por autores como Fredreric Ewen, Walter Benjamin, Frederic Jameson e, no Brasil, Gerd Bornheim e Fernando Peixoto. Acrescentam-se a esta primeira frente teórica trabalhos sobre teoria do cinema e obras de análise fílmica, a exemplo daqueles propostos por Eisenstein, Robert Stam, Jacques Aumont, Laurente Jullier, Michel Marie, Michèle Lagny e, no Brasil, Ismail Xavier. Serão analisados elementos cênicos que compõem a filmografia pesquisada, a saber: texto, música, atuação dos atores, cenário, indumentária, ângulo de câmera e montagem, que tentem evidenciar a existência do método brechtiano nessas produções cinematográficas

Com este trabalho apresentamos uma leitura do texto da peça didática Die Ausnahme und die Regel (A exceção e a regra) do dramaturgo alemão Bertolt Brecht, escrita em 1929/1930. Trata-se de uma leitura feita a partir de uma ótica acadêmica brasileira, que leva em consideração aspectos do procedimento estilístico do autor, sua posição em relação ao teatro, o contexto em que a peça foi produzida, o público a que a peça se destina, o seu lugar dentro do conjunto das outras peças didáticas e o resgate de textos inéditos para dois coros, bem como indicações para outras leituras e encenações. A partir destes pressupostos, busca-se delinear ao final um possível diálogo que Brecht estabelece com o jurista Carl Schmitt e com a sociedade de seu tempo. / This work consists of a reading of the text of the German playwright Bertold Brechts didactic play Die Ausnahme und die Regel (The exception and the rule), written in 1929/1930. This is a reading from a Brazilian academic perspective which takes into consideration aspects of the authors stylistic procedure, his positioning towards theater, the context in which the play was written, the audience to whom it was produced, its place in Brechts set of didactic plays and the review of unpublished texts for two choruses, as well as indications for other readings and stagings. From these assumptions, in the end of the work, we aim at outlining a possible dialogue Brecht established with the jurist Carl Schmitt and with society in his times.

The history of Bertolt Brecht's play Leben des Galilei extends through the writing of its three versions during 1938 to 1955 -- a period of two decades that also encompassed the entirety of the Second World War. The period also covers the atom bomb from its development to America's use of the bomb in Hiroshima and Nagasaki, as well as the beginning of the Cold War, which included the sustained threat that nuclear weapons might be used any day. This thesis traces, and offers interpretations of, changes in Brecht's Leben des Galilei from its inception in 1938-1939 -- when the protagonist, a scientist, is portrayed in a positive light -- through the play's American version in 1947, where it bitterly accuses science and scientists of having betrayed society and humanity, and finally to its last version in 1955, where the protagonist struggles to prevent the normalization--the familiarization--of the threat of nuclear warfare. Next to the writing of the Leben des Galilei, the thesis also focuses on the main critical readings of the play. A large fraction of the critical readings, but not all of them, interpret the play either as a judgment of science or as an invitation to pass judgment on science. The thesis compares Leben des Galilei with three different groups of other texts. The first comparison is with two other plays that also address the problem of science in the age of nuclear weapons, and the second comparison is with other work of Brecht himself. The first comparison leads to the observation that the muted note of optimism in the final version of Leben des Galilei is exceptional, and the second comparison to the apparently unrelated observation that it was uncharacteristic of Brecht to make explicit a certain literary allusion in Leben des Galilei. The two observations converge to a possible common explanation from a comparison with a still third group of texts, a cycle of Native American myths which appear in the oral traditions of various Native American tribes spread throughout the New World. Finally, the thesis addresses the question of why a modern-day literary text, addressing the essentially modern problem of nuclear warfare, and addressing that problem using the essentially modern techniques of Brechtian theatre, might have structures parallel to the structures of primitive mythology.

Se dégageant du point de vue spiritualiste et idéaliste caractérisant la critique poétique contemporaine, ce travail vise à remettre en question la conception d'une poésie par principe détachée de tout enjeu politique et prend en charge des textes en partie exclus du canon poétique. Centré sur la politisation des poésies françaises, anglaises et allemandes dans l’entre-deux-guerres européen, le projet est historique et dresse une vision globale mais analytique des liens entre la poésie et la politique d’un point de vue à la fois théorique et historique. Le corpus central réunit L. Aragon, W. H. Auden et Bertolt Brecht et s’étend ponctuellement à A. Breton, X. de Magallon, S. Spender, C. Day Lewis, T. S. Eliot, E. Pound, W. Lewis, G. Benn, V. Maïakovski, R. Alberti, etc. Les trois auteurs principaux permettent une aisance méthodologique et conduisent l’évocation des réseaux littéraires européens et de certains effets de réception. L’étude prend aussi en compte certains titres de presse et revues littéraires variés (La N.R.f., Commune, Eurydice, The Criterion, The Left Review, Die neue Rundschau, Das Wort, etc.). La première partie de l’étude dresse un tableau historique des incompatibilités entre le genre poétique et l’exercice de la politique dans l’entre-deux-guerres, autour des querelles sur la « propagande » et la « poésie pure ». Analytique, la deuxième étudie les stratégies de l’inscription historique et de l’action politique à l’œuvre dans l’écriture et la publication des textes. La troisième partie livre un questionnement théorique sur le lien entre les poètes politiques et le temps en étudiant d’abord leur rapport avec la poésie des siècles précédents puis leurs relations aux théories modernistes de l’autonomie et au programme politique des avant-gardes. / Leaving behind the spiritualist and idealist method which is frequent in poetry criticism nowadays, this dissertation aims to challenge the model of an essentially non-political poetry. It adopts both a historical and theoretical approach and focuses on so-called minor poems or poems that were later on excluded from the literary canon. Focused on France, Britain and Germany between the two World Wars, it presents how poets became politicized and how they conceived of the links between poetry and politics between 1918 and 1939. The main corpus is composed of L. Aragon, W. H. Auden and Bertolt Brecht but also extends to A. Breton, X. de Magallon, S. Spender, C. Day Lewis, T. S. Eliot, E. Pound, W. Lewis, G. Benn and even V. Mayakovski and R. Alberti, etc. The three main authors should be considered as centres to explore the European literary networks and describe reception effects. The project also encompasses various newspapers, magazines and literary journals (La N.R.f., Commune, Eurydice, The Criterion, The Left Review, Die neue Rundschau, Das Wort, etc.). The first part of this research is historical and establishes how poets and critics quarrelled about the notions of “propaganda” and “pure poetry” over the period. The second part is analytical and delves into how poets evoke contemporary history and how they use writing and publishing strategies to make their poems more effective in the public space. The third part is more theoretical and depicts how poets conceived their own historicity, how they positioned themselves with respect to the poetry of the past, to contemporary modernist theories of artistic autonomy and to the political programmes of the Avant-Garde.