Inter-faces rodrigueanas: dramaturgia, recepção e construção de imagens

Abstract

This paper presents a research on Nelson Rodrigues's dramaturgy. It aims to understand implicit dialogues in both Rodrigue's play and on public reception on those plays. It will be based on the discussion on the reception of work or art and fiction theory. The dramaturgical work of Nelson Rodrigues provoked a huge reaction in his time due to two reasons: Firstly, it brought about innovations and met literary critics and artists expectations on literary qualities and, secondly, it sparked off a great deal of controversies and critical judgments. The impact of Rodrigue’s works hit the newspaper leaving a legacy of valuable material that allow one to analyse the communication, interaction and reception beyond the play acted. Those materials are enhanced by the artist and critic’s statements as well as by Rodrigue’s articles and chronicles written in replying to those statements. Hence, this research demonstrates how the dramaturgical work in question has had a major influence to pave the roads of the Brazilian dramaturgy. It also shows how performance and dialogues between author and his interlocutors influenced the way later plays were created. In addressing the question of how the montage of the seventeen plays, which make up Nelson Rodrigues’s work, occurred, this study considers the dialogical dimension of diffferent scenes. Another aspect that turns out to be crucial and to be presented in this paper is the construction of an imaginary about the Nelson Rodrigue’s dramaturgy and the idea on his respect as an author. Those aspects can be perceived in the constant exchange of messages through content published on chronical and critical newspapers of that period of time. Hence, this work focuses on the values and meanings present on the Nelson Rodrigue’s dramaturgical trajectory throughout the process of the montage of his plays between the years of 1940 and 1980. Thus, the critical reception of the plays, the polemics and dialogues between the author and his interlocutors allows an understanding of the similarities and differences between Rodrigue’s works and the principles underpinning aesthetic criteria. In addition, these dialogues reveal the author commitment to define his dramaturgy and shape his image as an author who was always in searching for free artistic expression. It also points out how Rodrigue’s work, at diverse moments, was perceived by critics and artists with whom he dialogued.