By Bonnie S. Wassermann
Lusophone playwrights who wrote lower than repressive regimes and through politically chaotic occasions frequently depicted occasions of their countries’ histories that have been oppressive in nature—including the Inquisition, slavery, and colonialism. utilizing suggestions derived from Bertolt Brecht, the playwrights meant to make their audiences re-examine not just the motion happening onstage, but in addition its relevance to the modern sociopolitical state of affairs. This attribute might be saw in Brazilian and Portuguese performs written through the Nineteen Sixties and Seventies, in addition to Angolan performs written within the Nineteen Eighties. The seven dramatic works analyzed during this e-book exemplify how modern Lusophone playwrights painting topics of prior oppression to covertly talk about political repression and the seeds of civil wars within the moment half the 20th century.
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Extra info for Metaphors of Oppression in Lusophone Historical Drama (Latin America (Peter Lang Publishing), V. 6.)
One such character is the heroic figure found in traditional Aristotelian theater. The heroic character who embodies positive and virtuous qualities is not found in Brechtian theater. In her/his place there is the “anti-hero” whose actions are contradictory and/or negative. the good characters are invariably crushed and defeated” (Esslin 153). The reason for the scarcity of positive characters is that Brecht intended to persuade the audience to be critical of capitalist society (Esslin 153). The “anti-hero” does this by acting in ways unbecoming of a hero.
His single, though noteworthy, collection of lyrical poetry was As Espumas Flutuantes (1870) (Floating Foam). Castro Alves, who died at the age of 24 from tuberculosis, wrote the play Gonzaga ou A Revolução de Minas (1862) (Gonzaga or the Minas Revolution) about the Mineira Conspiracy, or Inconfidência mineira, of 1789 (Bosi 132). As inflamado defensor de abolição da escravatura, o poeta quis demonstrar, na peça, sua fundamental necessidade histórica como complemento da independência (Cacciaglia 52).
One of the major factors leading to the development of Brazilian theater was the arrival of the Portuguese court. Fearing the imminent invasion of Napoleon’s troops, the court fled to Brazil in 1808; there they set up residence in Petrópolis, outside the city of Rio de Janeiro. –1829) in 1813. In succeeding decades, theatrical activity expanded in large part because of the work of one man: João Caetano dos Santos (1808–1863). João Caetano was an actor, director, and theater promoter who starred in the first post-Independence Brazilian play, O príncipe amante de liberdade ou a independência da Escócia (The Prince Who Loved Liberty or the Independence of Scotland), in 1833.