Banca de DEFESA: Raphael Oliveira Vitali

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : Raphael Oliveira Vitali
DATE: 22/12/2022
TIME: 16:00
LOCAL: Sala de evento do Instituto de Letras
TITLE:

PERFORMANCE AND TRANSCRIPTION: A TRANSITION FROM IMAGE TO SCENE

KEY WORDS:

Victor Hugo; dramaturgy; iconography; performance; literature; visual arts; theater.

PAGES: 159
BIG AREA: Lingüística, Letras e Artes
AREA: Letras
SUMMARY:

This dissertation presents as a working hypothesis the presence of the pictorial image in the scenic text through the canvas Pleine Lune (~1856) by Victor Hugo (1802-1885). To prove this assertion, a theoretical investigation was carried out to verify how the French artist moved from one art to another in his creative process during the period of exile. The techniques and materials used by him are listed, as well as two works in apparently different artistic areas, namely: de La Forêt mouillée (1854), (performing arts) and Pleine Lune (~1856), which were created in the same period. From this methodology, it follows the biographical context and the visual and dramaturgical production of Victor Hugo in the period of exile, which covered in three chapters. The first chapter talks about Victor Hugo's relationship with the personal, sociopolitical and arts context in general, in the period from 1851 to 1856 for the construction of the character in this scenic dramaturgy. The second chapter explains how Victor Hugo created the canvas Pleine Lune (~1856), in the period of exile, paying attention to the techniques and materials used in the composition of the canvas, through iconographic analysis, to then assess the artistic dialogues that resulted from this work, both in the visual arts and in literary creation, in the photographic experience and in the artist's dramaturgical production, thus establishing a parallel with the creation of the scenography, and the third chapter guides the possibility of how to move from the pictorial work Pleine Lune (~1856) for textual dramaturgy through the language of performance. For this, we will stick to the specific case of the play La Forêt Mouillée (1854) and the photography technique, both materialized by Victor Hugo in the period of exile, in order to understand to what extent the elements of the translation of the painting for textual dramaturgy through the transcreation process of Haroldo de Campos. Furthermore, we will focus on the artistic current called supernaturalism and the way in which it imposes itself on Hugo as an ideology in his creative process and in the materials experimented with Cohen's performance as a result of a dialectical game. reflected by Kant, Schiller and Didi-Huberman. This dissertation concludes by stating that by investigating and analyzing the multiplicity of elements transposed in the visual and verbal work of Victor Hugo, establishing a connection between the scenic and literary theorists in the possibility of transition from one art to another art without establishing housing distinctions between these artistic areas (literature, plastic arts and scenic art).

BANKING MEMBERS:
Interno - 1295798 - ANDRE LUIS GOMES
Externo à Instituição - DENNYS DA SILVA REIS
Externo à Instituição - MARCUS SANTOS MOTA
Presidente - 1728853 - MARIA DA GLORIA MAGALHAES DOS REIS