“IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK
Until the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminin...
| Main Authors: | , |
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| Format: | Article |
| Language: | Portuguese |
| Published: |
Universidade Estadual do Oeste do Paraná
2009-12-01
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| Series: | Travessias |
| Subjects: | |
| Online Access: | http://e-revista.unioeste.br/index.php/travessias/article/view/3424 |
| _version_ | 1818777736604286976 |
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| author | Christian Fernando dos Santos Moura Reynúncio Napoleão de Lima |
| author_facet | Christian Fernando dos Santos Moura Reynúncio Napoleão de Lima |
| author_sort | Christian Fernando dos Santos Moura |
| collection | DOAJ |
| description | Until the nineteen forties decade, the Negroes in the Brazilian drama were
represented, even when taking up major parts, throughout some stereotyped characters and
caricatures inherited from the slavery period. Between the end of the nineteenth century and the
beginning of the twentieth, the feminine negro character so many times appears in dramatic parts
like the mulata beautiful and sexy (with good dancing skills and body performance), the bab
(wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the bahiana macumbeira (normally in voodoo style, seller of grocers shops, dressing wide skirts, sewed smock,
turban, necklaces and local baubles), the black old lady (old African having knowledge of ancient
secrets), and the masculine characters like the smart young black (a lodger of the Brazilian greathouse),
the fool (lacking intelligence, lout, ignorant and idiot), the father John (mostly old
black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de
Janeiro the foundation of a new drama group, created by black actors intended to revise the stage
tradition for representation of race, bringing to stage different works related to African-Brazilian
culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop
Theater (Teatro Experimental do Negro, TEN). The present article intends at to describe the
creation process and a summary of the trajectory of the group. |
| first_indexed | 2024-12-18T11:33:34Z |
| format | Article |
| id | doaj.art-60a7862225f64a7fb6d79daa586e0597 |
| institution | Directory Open Access Journal |
| issn | 1982-5935 |
| language | Portuguese |
| last_indexed | 2024-12-18T11:33:34Z |
| publishDate | 2009-12-01 |
| publisher | Universidade Estadual do Oeste do Paraná |
| record_format | Article |
| series | Travessias |
| spelling | doaj.art-60a7862225f64a7fb6d79daa586e05972022-12-21T21:09:33ZporUniversidade Estadual do Oeste do ParanáTravessias1982-59352009-12-01333129“IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACKChristian Fernando dos Santos MouraReynúncio Napoleão de LimaUntil the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminine negro character so many times appears in dramatic parts like the mulata beautiful and sexy (with good dancing skills and body performance), the bab (wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the bahiana macumbeira (normally in voodoo style, seller of grocers shops, dressing wide skirts, sewed smock, turban, necklaces and local baubles), the black old lady (old African having knowledge of ancient secrets), and the masculine characters like the smart young black (a lodger of the Brazilian greathouse), the fool (lacking intelligence, lout, ignorant and idiot), the father John (mostly old black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de Janeiro the foundation of a new drama group, created by black actors intended to revise the stage tradition for representation of race, bringing to stage different works related to African-Brazilian culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop Theater (Teatro Experimental do Negro, TEN). The present article intends at to describe the creation process and a summary of the trajectory of the group.http://e-revista.unioeste.br/index.php/travessias/article/view/3424teatro brasileiroteatro experimental do negroteatro negro no brasil. |
| spellingShingle | Christian Fernando dos Santos Moura Reynúncio Napoleão de Lima “IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK Travessias teatro brasileiro teatro experimental do negro teatro negro no brasil. |
| title | “IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK |
| title_full | “IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK |
| title_fullStr | “IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK |
| title_full_unstemmed | “IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK |
| title_short | “IN THE HIDE-OUT OF A FOREIGN WORLD” - THE CREATION AND TRAJECTORY OF THE EXPERIMENTAL THEATER OF THE BLACK |
| title_sort | in the hide out of a foreign world the creation and trajectory of the experimental theater of the black |
| topic | teatro brasileiro teatro experimental do negro teatro negro no brasil. |
| url | http://e-revista.unioeste.br/index.php/travessias/article/view/3424 |
| work_keys_str_mv | AT christianfernandodossantosmoura inthehideoutofaforeignworldthecreationandtrajectoryoftheexperimentaltheateroftheblack AT reynuncionapoleaodelima inthehideoutofaforeignworldthecreationandtrajectoryoftheexperimentaltheateroftheblack |