Temas e acontecimentos da história do Brasil contemporâneo pela dramaturgia de Gianfrancesco Guarnieri

Abstract

This paper deals with Gianfrancesco Guarnieri s drama production in the period from 1958 to 1976 through the relation history / theater and art / politics. Commited to the Brazilian reality, he made of his art a flag of struggle for an increasing politicization of society, that is, the political commitment made by his artistic production enabled a theater engaged around projects that could provide the awareness of Brazilian society for the sake of political changes. The writer, as a PCB militant and advocate of Brazilian drama, sought to build an aesthetic that would reflect his view of world and history. Through his political position, he produced discussions that pointed out the projects and ideas related to the Brazilian society. In a first moment, related to the construction and the defense of a national drama and awareness of the masses for the \"bourgeois revolution\" pointed out by the Party. However, with the coup of 1964, he was forced to reassess his attitudes and think about the reasons for the defeat suffered by the left. He found in history a way to challenge the regime introduced with the coup. Through the national heroes, Zombie and Tiradentes, he produced musicals that put into play the fight for freedom against oppression and against the authoritarian power. Thus, through the story, the author spoke of the present and placed himself next to other artists and intellectuals who sought to resist the authoritarian state by undertaking a fight, within the limits of legality, for democratic freedoms. His way of working remained the drama. With the increasing repression, he established himself in the field of democratic resistance by producing, through metaphors, parables, allegories, his hope for better times. He was next to the theater of the word, based on the text which sought to discuss Brazilian issues and problems. Thus, he made of his drama a space for contestation and mobilization in favor of democracy. In order to do this, he built an aesthetic which reflected his political and artistic views. In Critical Realism he found the form of expression for a committed work with Brazil and with the ways of Brazilian society.