As rosas no jardim de Zula : um estudo dos imaginários sociodiscursivos femininos no teatro documentário
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Data
2018-03-05
Autores
Chaves, Mariana Pinter
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Universidade Federal do Espírito Santo
Resumo
The main aim of this research is to analyze the enunciative dimension of the contemporary documental scene with focus on the scenic individual’s discourse through a transdisciplinary approach based on the Semiolinguistic Theory, on the Social Genre Studies and on studies of Documentary Theatre. Specifically, our intention was to research which imaginary socio-discursive feminine pervade the spectacle The Roses in Zula’s Garden and in what way the linguageer configuration elabores them. By proposing a study which takes into account the socio-communicative dimension of the theatrical discourse, we utilized a theory result of a link between semiolinguistic concepts proposed by Charaudeau (2001; 2005; 2007; 2008; 2014; 2016) and by Cordeiro (2005) and Machado (2015; 2016a; 2016b). Furthermore, we utilize theories of Sarti (2004), Brah (2006) and Safiotti (2011), in order to reflect about the Social Genre and Feminism as well as contributions by Boal (2009; 2011), Rancière (2012), Mendes (2012) and Giordano (2014), among others as regards the Theatrical Studies. Hypothetically we consider it is probable that the situation of theatrical-documental communication would act as a report area of imagination socially crystallized about the female individuals and, therefore, the resistance to the social inequalities suffered by them. Moreover, we find it possible that the input of the life narrative of ordinary individuals in the contemporary scene would work such as a strategy to attract spectators and that they would arise as reality put into the scene. For this purpose, we proceeded to a descriptive and a qualitative methodology which provided the scenic-contractual delineation, the identification and interpretation of the socio-discursive in discursive organizations prevalent in this act of language. The results of the analysis led us to disagree the hypothesis about the use of reality on the scenic sphere, because, despite being historical documents, they are at the service of the dramaturgic construction of the play, so, they do not breach with the fictional statute of the Scenic Art communication contract. However, attempting to better understand the emerging subjectivities at the contemporary theatrical context, we were, unexpectedly, led to purpose the use of syntagmas character-actor and spect-actoremancipated to the subjective instances that use the reality effects on stage, including life narratives. On the other hand, we validated the hypothesis that the discourses of those theatrical female individuals produce socio-discursive imaginaries able to criticize and question the current genre domination in our machist-patriarchal society.
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Semiolinguistics , Imaginários sociodiscursivos , Female subject , Sujeito feminino , Semioscenic analysis , Análise semiocênica , Life narratives , Narrativas de vida , Documentary theater , Teatro documentário