Tag: literature

Fernando Person

(ESSLIN, 1966, pg.349) What one perceives in the reading of this introductory definition to the Theater of the Nonsense is that dramaturgo Fernando Person, in the writing of its sailor, launches hand of these illogical principles and sensorial characteristic of the said texts nonsenses without, at any moment, if aperceba? the least in explicit way? that teatral, the principle would be corroborating a new possibility when making, dspar of what until then was carried through in the Europe to finissecular. European Portugal and some countries produced, in bigger scale, the call simbolista naturalistic realistic theater//; whereas, in initial way; in efervescia Paris already the theater of Poetical Vanguard, that in some aspects if resembles the proposal coming of the Nonsense when it considers an illogical and onrico universe in the development of the text with decadentistas interferences, even so with one high degree of irony and a well distinct mood. The dramaturgos were distinguished in this theater of Poetical Vanguard Michael de Ghelderode, Jacques Audiberti, Georges Neveux, among others. Whereas the representation most legitimate of the Theater of the Nonsense is found in the Irishan Samuel Beckett (Waiting Godot), in the Rumanian Eugne Ionesco (the Bald Singer), in the Russian Arthur Adamov (All against all) and the Frenchman Jean Genet (the Balcony). However, if they are aesthetic next teatrais in characteristics, as not to assume, then, that the theater of Fernando Person anticipates the Poetical Vanguard and not it Nonsense; a time that the poetry it is infinitely more peculiar? The reply it is not in the similitudes, but, in the differences. The Poetical Vanguard goes to dedicate itself, essentially, to a protestant lyricism that garganteia the lack of logic of a world that premessenger a dull war and the displacements of the modern citizen, launching hand of the irony, of a sarcastic mood, filiando itself, thus, to dadasmo, the surrealismo and other ismos of one agitated beginning of century XX..

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Italian Death

It had an effort so that its descendants did not present resqucios of the Italian culture. They would have to be strengthenn to be Brazilian legitimate. Probably, without wanting, Santiago in offers material to them enough to become a sort quarrel. For in such a way, we will use the definition of Joan Scott: The term sort starts to introduce a relationary notion in our vocabulary of analyzes. As this opinion the women and the men were defined in reciprocal terms and no understanding of one of them could be reached by a separate study (SCOTT, 1991, P. 5). We infer, then, that the woman and its relation with the man, are represented by two antagonistic personages, how much to way of being and living in the workmanship in question: the mother of Mrio, told as a strong woman and oppressor and the wife of Onofre druggist, who is described with submissa and oppressed. The first one is the owner of the pension, that if becomes attached to the values of the traditional family, always in search of the perfection to show to the society of Pains.

However, it denies these values when trai the husband with the druggist in a private romance. Mandona, lady of the truth, seems to be the only person in the world to have reason, owner of the proper nose and after negotiates not accepted to be tutored person for the brother-in-law the death of the husband. This strong and destemida woman has shame of the illness of the son. At the same time where if culprit for having this feeling feels, not accepted the death of the son, that did not suffer from no illness and finishes dying it childbirth, common disease at that time: ' ' Death for uncle Mrio. Resurrection for the sister oldest. They had its life as a death while still alive.

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