Projeto comédia popular brasileira da Fraternal Campanhia de Artes e Malas-Artes (1993-2008) : : trajetória do ver, ouvir e imaginar / / Roberta Cristina Ninin.

• VerfasserIn: Ninin, Roberta Cristina,
• Place / Publishing House: São Paulo, Brazil : : Editora UNESP,, 2010.
• Year of Publication: 2010
• Language: Portuguese
• Physical Description: 1 online resource (224 pages) :; digital, PDF file(s).

The main objective of the present work is to register and understand the trajectory of the Brazilian Popular Comedy Project (CPB) and, consequently, of the Fraternal Companhia de Arte e Malas-Artes through the characters created during 15 years of aesthetic research (1993-2008). The specific projects developed at each stage of the CPB Project, their respective plays and shows, character conceptions, the work and training of the actors and the relationship established with the main target of their theatrical life: the audience are the objects of analysis. In its first phase (1993-1997) - VER, Fraternal creates Brazilian type characters, influenced by comedians Martins Pena, Artur Azevedo and Ariano Suassuna, resuming the dialogue with the fixed types of commedia dell´arte. In the second phase (1998-2001) - LISTEN, the standard characters give prominence to characters inspired by medieval popular festivals, based on the theoretical study by Mikhail Bakhtin. And, in the third phase (2002-2008) - IMAGINAR, actors from the region present the characters through narration and representation. During this period, the Company deepens its practice in the scenic game established between characters, actors and narrators for the dramaturgical and interpretive construction of its shows, inspired by Bertolt Brecht and Luigi Pirandello. The choice of characters as interlocutors of the wishes and history of the Brazilian people reflected, from the beginning, the specific worldview and popular culture adopted by the Fraternal, endorsed in the point of view contrary to that of the dominant class, that of the dominated class. Dario Fo (1999), Mikhail Bakhtin (1987).