Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-06-12T17:55:32Z No. of bitstreams: 2 Dissertação - Luciano Diogo Oliveira Freitas - 2017.pdf: 2722679 bytes, checksum: 2df1afd541bddfe8347398892d5a5c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-13T10:45:15Z (GMT) No. of bitstreams: 2 Dissertação - Luciano Diogo Oliveira Freitas - 2017.pdf: 2722679 bytes, checksum: 2df1afd541bddfe8347398892d5a5c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-13T10:45:15Z (GMT). No. of bitstreams: 2 Dissertação - Luciano Diogo Oliveira Freitas - 2017.pdf: 2722679 bytes, checksum: 2df1afd541bddfe8347398892d5a5c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Charlie Chaplin´s (1889-1977) influences on Bertolt Brecht’s theater (1898-1956) are diverse; also the films of the British director were inspiration for several plays written by the German playwright (The Rise and Fall of the City of Mahagonny (1928/1929), Mother Courage and Her Children (1939); Mr Puntila and his Man Matti (1940), and others). In many parts of Brecht works, diaries and theoretical texts Brecht makes comments about the importance of Chaplin´s cinematographic practice and his character The Tramp, for the constitution of his theater. Some moments Brecht considers Chaplin a model of actor to the epical theater (BRECHT 1995, p. 125; BRECHT 2005A, p. 249, 263, 291; and others). Two central concepts in Brecht´s work are fundamental for the understanding of this relationship: Verfremdungseffekt – the famous Estrangement Effect and the social Gestus. Once these concepts are delimited I search to analyze Chaplin´s work, the process of film construction and the interpretation in silent films as elements that generate estrangement and are structured as a Gestus language. At the first chapter I analyze the historical context of the Weimar’s Germany to understand the constitution of V-Effekt at its time. At the second chapter I assume the idea of the cinema as a revolution on the form of production and reception of art, passing by the Chaplin’s history trying to realize how his films were a large reference to a lot of artists, including Brecht. At the third chapter I study the social Gestus and how it is related with the variety shows and the Chaplin’s artistic works. Finally, at the conclusions, I return to the mail points of this intense dialogue between Brecht and Chaplin, and how this relationship produced uncountable fruits and artistic works. This material requires new theoretical and practical studies (on scream and on stage), considering its large reflexive and critical potential, and more than it, its artistic value. / As influências de Charlie Chaplin (1889-1977) na obra de Bertolt Brecht (1898-1956) são diversas. Os filmes do diretor britânico são inspiração para diversas peças escritas pelo dramaturgo alemão (Ascenção e queda da cidade de Mahagonny (1928/1929), Mãe Coragem e seus filhos (1939), Senhor Puntila e seu criado Matti (1940), dentre outras). Brecht comenta em seus diários de trabalho e inúmeros textos teóricos a importância da prática cinematográfica de Chaplin e de seu personagem Carlitos para a constituição do seu teatro, considerando-os muitas vezes modelar para o teatro épico (BRECHT 1995, p. 125; BRECHT 2005A, p. 249, 263, 291; dentre outros). Dois pontos da práxis brechtiana são fundamentais para compreender essa forte relação cinema-teatro, são eles: o Verfremdungseffekt – o famoso efeito de estranhamento e o Gestus social. A partir desses dois pontos procuro analisar a obra de Chaplin, o processo de construção de seus filmes e a interpretação no cinema mudo como elementos que geram estranhamento e se estruturam como uma forma de Gestus social e estranhamento. No primeiro capítulo parto do contexto histórico da Alemanha de Weimar para compreender a constituição do V-Effekt em seu tempo. No segundo capítulo penso o cinema enquanto revolução na forma de produzir e apreciar a obra de arte e, passando pela história de Chaplin, como esse artista influencia e inspira artistas por todo o mundo, entre ele Brecht. No terceiro capítulo busco compreender o Gestus social e como ele se relaciona com o espetáculo de variedades e o trabalho artístico de Chaplin. Por fim, nas considerações finais, retomo a ideia de que o intenso tráfego da ponte Brecht-Chaplin, produziu diversos frutos e produções que ainda hoje exigem sua leitura, encenação, e apreciação, dado o seu potencial crítico reflexivo e mais ainda o valor artístico de suas proposituras que até hoje se extravasam nos palcos do teatro.

This thesis is primarily concerned with Caryl Churchill and Edward Bond&rsquo / s attempts to implement Brechtian methods of Verfremdungseffekt with the same artistic intent of social change in their plays, Mad Forest and Red, Black and Ignorant. In order to provoke critical and objective thinking, and action for positive change, both of the playwrights make use of Brechtian Verfremdungseffekt techniques of characterization, open-endedness, episodic structure, and audio-visual aids. These techniques let the playwrights present familiar situations, actions and attitudes as if they were unfamiliar so that they could be alienated and evaluated with a critical eye by the audience and the reader. In addition to studying the Brechtian elements in these two plays, this thesis argues that there is a point which drifts Bond&rsquo / s Red, Black and Ignorant from Brechtian dramaturgy and Churchill&rsquo / s Mad Forest / the point is that Red, Black and Ignorant includes non-Brechtian character design aspects and lack of Brechtian audio-visual aids.