Tese (doutorado)—Instituto de Ciências Humanas, Universidade de Brasília, 2006. / Submitted by Elna Araújo (elna@bce.unb.br) on 2011-05-09T18:57:12Z
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Previous issue date: 2006-09 / A questão de saber se é possível pensar diferentemente do que se pensa – e perceber diferentemente do que se vê – é indispensável para continuar a olhar e refletir, alertava Foucault. Esse foi o desafio na construção do objeto desta tese: as práticas discursivas jesuíticas e a emergência do que denomino “teatro jesuítico da missão”. Para tal, considero-o enquanto experiência singular, portadora de uma historicidade que se poderia desvelar, para descrever aquilo que lhe fosse constitutivo, as suas condições de possibilidade. Assumi, deste modo, uma perspectiva de análise que questiona a espessura histórica que enuncia teatros e nomeia gentios, frente à aparente naturalidade e mesmo obviedade com que vem sendo apresentado o fazer teatro entre os gentios, no Brasil do séc. XVI. Uma postura que, ao contrário de uma narrativa seqüencial de suas manifestações no tempo, identifique, isso sim, a sua raridade, como acontecimento, e as possíveis matrizes que perpassavam e fundavam as práticas discursivas jesuíticas, entre as quais se situava esta forma particular de teatro, quando este irrompeu e configurou-se no Brasil. Portanto, examino, os documentos e, parcialmente, o arquivo construído pela Companhia de Jesus, arrolando fontes que não costumam ser imantadas por estudiosos do fazer teatral dos jesuítas no espaço colonial do séc. XVI: cartas, prédicas, a chamada Bíblia de Nadal – que analiso como um livro-teatro –, os Exercícios Espirituais de Santo Inácio de Loyola, entre outros. O teatro jesuítico, deste modo, parece emergir, construir e ser construído no interior das matrizes discursivas próprias à emergência do fazer jesuítico, no interior do arquivo, em torno da ordenação, da disciplina dos sentidos e, mais particularmente, do olhar, aquela [ordem] da contemplação que, mais do que vontade de imagens, revela-se vontade de verdade, a que produz imagens, cuja “correta” interpretação permite o agir em direção à implantação da verdade para si e para o mundo. ______________________________________________________________________________________ ABSTRACT / The question of knowing whether it is possible to think differently from the way one thinks – and to perceive differently from the way one sees – is indispensable for one to continue looking and reflecting, warned Foucault. This was the challenge in the building of the object of this thesis: the Jesuit discursive practices and the emergence of what I call “the Jesuit theater of the mission”. Thus, I consider it, while being a singular experiment, the bearer of a historicity that one could unveil, to describe that which would be a part of it, its condition of possibility. I assumed, thus, a perspective of analysis that questions the historical denseness which enunciates theaters and names gentile, before the apparent naturalness and even obviousness with which the making of the theater among the gentile in Brazil in the 16th century has been presented. A posture that, contrary to a sequential narrative of its manifestations in time, will indeed identify its rarity, as an event, and the possible matrixes that passed by and founded the Jesuit discursive practices, among which this particular form of theater was placed, when it emerged and was formed in Brazil. Therefore I examine the documents and parts of the archives put together by the Society of Jesus, collecting sources that are not usually used by those researching the theater making of the Jesuits in the colonial period of the 16th century: letters, sermons, the so-called Nadal’s Bible – which I analyze as a theater-book –, the Spiritual Exercises of Saint Ignatius of Loyola, among others. The Jesuit theater, thus, seems to emerge, build and be built in the inner part of the discursive matrixes pertaining to the emergence of the Jesuit task, in the archive, around the ordering, the discipline of the senses and, more specifically, the look, that [order] of contemplation that, more than the will to images, reveals itself as the will to truth, the one that produces images, whose “correct” interpretation allows the action towards the implantation of truth for itself and for the world. ________________________________________________________________________________________ RÉSUMÉ / La question de savoir s’il est possible penser différemment de ce que l’on pense – et percevoir différemment de ce que l’on voit – est indispensable pour continuer à regarder et à réfléchir, comme alertait Foucault. Celui-ci a été le défit au cours de la construction de l’objet de cette thèse: les pratiques discursives jésuitiques et l’émergence de ce que j’appelle “théâtre jésuitique de la mission”. Pour cela, je le considère en tant qu’une expérience singulière, porteuse d’une historicité que l’on pourrait devoiler, pour décrire ce que lui serait constitutif, leurs conditions de possibilité. J’ai ainsi assumé une perspective d’analyse qui questionne l’épaisseur historique qui énonce théâtres et nomme gentios, devant le naturel apparent, ou même l’évident, avec lequel le faire théâtre parmi les gentios au Brésil du XVIe siècle est souvent présenté. Cette posture, en opposition à un récit séquentiel de ses manifestations dans le temps, identifie sa rareté, en tant qu’évènement, et les possibles matrices qui suivaient et fondaient les pratiques discursives jésuitiques, parmi lesquelles se situait cette forme particulière de théâtre, lorsque celui-ci a fait irruption et a pris sa configuration au Brésil. J’examine, donc, les documents et partiellement de l’archive construit par la Compagnie de Jésus, en utilisant des sources qui, d’habitude, ne sont pas évoquées par ces qui étudient le faire théâtral des jésuites dans l’espace colonial du XVIe siècle: lettres, prédications, la dénommée Bible de Nadal – que j’analyse comme un livre-théâtre – , les Exercices Spirituels de Saint-Ignace de Loyola, parmi d’autres. De cette manière, le théâtre jésuitique semble émerger, construire et être construit à l’intérieur des matrices discursives propres à l’émergence du faire jésuitique, à l’intérieur de l’ archive, autour de l’ordination, de la discipline des sens et, plus particulièrement, du regard, celle de la contemplation qui, plus que volonté d’images, se révèle volonté de vérité, celle qui produit des images, dont l’interprétation “exacte” permet l’action vers l’implantation de la vérité pour soi et pour le monde.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.unb.br:10482/7629 |
| Date | 09 1900 |
| Creators | Torres, Magda Maria Jaolino |
| Contributors | Swain, Tania Navarro |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | French |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/doctoralThesis |
| Source | reponame:Repositório Institucional da UnB, instname:Universidade de Brasília, instacron:UNB |
| Rights | info:eu-repo/semantics/openAccess |
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