Baixar Livro Vestido de Noiva – Nelson Rodrigues PDF MOBI LER ONLINE

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Baixar Livro Vestido de Noiva – Nelson Rodrigues PDF MOBI LER ONLINE

Baixar Livro Vestido de Noiva – Nelson Rodrigues PDF MOBI LER ONLINE

Pela mente de Alaíde, vítima de atropelamento, passam flashes de seu relacionamento com o marido, da disputa com a irmã, de seus desejos inconfessáveis, tudo de forma desencontrada, misturando realidade, lembrança e alucinação. Com direção de Ziembinski, a estréia de Vestido de Noiva, em 1943, marcou o início da nova fase do teatro nacional e consagrou Nelson Rodrigues.

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Opinião do Livro Vestido de Noiva – Nelson Rodrigues PDF MOBI LER ONLINE

Nelson Falcão Rodrigues (August 23, 1912 – December 21, 1980) was a Brazilian playwright, journalist and novelist. In 1943, he helped usher in a new era in Brazilian theater with his play Vestido de Noiva (The Wedding Dress), considered revolutionary for the complex exploration of its characters’ psychology and its use of colloquial dialog. He went on to write many other seminal plays and today is widely regarded as Brazil’s greatest playwright.

Nelson Rodrigues was born on August 23, 1912 in Recife, the capital of the Brazilian state of Pernambuco, to Mario Rodrigues, a journalist, and his wife, Maria Esther Falcão. In 1916, the family moved to Rio de Janeiro after Mario ran into trouble for criticizing a powerful local politician. In Rio, Mario rose through the ranks of one of the city’s major newspaper and, in 1925, launched his own newspaper, a sensationalist daily. By fourteen Nelson was covering the police beat for his father; by fifteen he had dropped out of school; and by sixteen he was writing his own column. The family’s economic situation improved steadily, allowing them to move from lower-middle class Zona Norte to what was then the exclusive neighborhood of Copacabana.

In less than two years the family’s fortunes would be reversed spectacularly. In 1929, older brother Roberto, a talented graphic artist, was shot and killed at the newspaper offices by a society lady who objected to the salacious coverage of her divorce. Devastated by his son’s death, Mario Rodrigues died a few months later of a stroke, and shortly after that the family newspaper was closed by military forces supporting the Revolution of 1930, which the newspaper had fiercely opposed in its editorials. The ensuing years were dark ones for the Rodrigues family, and Nelson and his brothers were forced to seek work at rival newspapers for low wages. To make matters worse, in 1934 Nelson was diagnosed with tuberculosis, a disease that plagued him, on an off, for the next ten years.

During this time Rodrigues held various jobs including comic strip editor, sports columnists and opera critic. In 1941, he wrote his first play A Mulher Sem Pecado (The Woman Without Sin), to mixed reviews. His following play, Vestido de Noiva (The Wedding Dress), was hailed as a watershed in Brazilian theater and is considered among his masterpieces. It began a fruitful collaboration with Polish émigré director Zbigniew Ziembinski, who is reported to have said on reading The Wedding Dress, “I am unaware of anything in world theater today that resembles this.” In the play, set while the female chief character is hit by a car in the street and undergoes surgery, the stage is divided in three planes: one for real life action happening around the character, another for her memories, a third for her dying hallucinations. As the three planes overlap, actual reality melds with memory and delusion[1].

Rodrigues’s next play, 1946 Álbum de família (Family Album)- the chronicle of a semi-mythical family living outside society and mired in incest, rape and murder – was so controversial that it was censored and only allowed to be staged 21 years later.

In all, Rodrigues wrote 17 full-length plays. They include Toda Nudez Será Castigada (All Nudity Shall Be Punished), Dorotéia, and Beijo no Asfalto (The Asphalt Kiss, or , better, The Kiss on Asphalt[2]), all considered classics of the Brazilian stage. His plays are frequently divided in three groups: Psychological, mythical and Carioca tragedies. In his Carioca tragedies Rodrigues explored the lives of Rio’s lower-middle class, a population never deemed worthy of the stage before Rodrigues. From the beginning his plays shocked audiences and attracted the attention of censors.

In spite of his success as a playwright, Rodrigues never dedicated himself exclusively to theater. In the 1950s, besides writing the hugely successful column A Vida Como Ela É (Life As It Is), he also wrote soap operas, movie scripts,

David George’s book Nelson Rodrigues and the Invention of Brazilian Drama is a sound contribution to the study and divulgation of Rodrigues’s plays in the U.S. and for non-Portuguese speakers at large. With only one main predecessor in English, Fred M. Clark’s Impermanent Structures: Semiotic Readings of Nelson Rodrigues’ Vestido de noiva, Álbum de família, and Anjo negro (1991), a volume devoted solely to Rodrigues’s theater is long overdue. Rodrigues undoubtedly is the most important twentieth-century Brazilian playwright, and George’s main contribution is not only in terms of outlining Rodrigues’s career and situating his theatrical production within historical context and the renowned revolution he represented for the Brazilian stage. Most importantly, George punctuates his narrative with descriptions and analyses of productions of the plays, which range from the groundbreaking 1943 staging of Vestido de noiva by the company Os comediantes to more recent productions, such as Teatro do Pequeno Gesto’s 1998 rendering of A serpente. What the analyses of these productions provide us, as readers, is a window into the diverse appropriations and re-appropriations of Rodrigues’s plays, oftentimes depending on historical moment, as well as the aesthetic solutions directors and companies had to devise in order to convey their message and, in many cases, update Rodrigues’s works.

A controversial figure, Rodrigues was personally quite conservative but extremely unconventional on stage, and his own life story was marked by tragic events, which seemed to be doubled by the difficulties he found in producing his works. Given the taboos that abound in the texts, his plays were often censored and had to wait years for their staging, the worst case being Álbum de família, published in 1946 but only produced for the first time in 1967. Chapter 1—the second longest in the book—inserts Rodrigues’s playwriting into the context of his biography, his multifaceted cultural endeavors (for he also wrote crônicas, novels, and newspaper articles on crime, soccer, and opera, among other subjects), the historical and cultural contexts and, last but not least, the different efforts to avoid letting Rodrigues’s œuvre fade into oblivion. As such, chapter 1 serves as a panoramic springboard from which readers may delve into the readings of specific plays, the first one being Vestido de noiva, the focus for chapter 2, which is followed by Senhora dos Afogados in chapter 3, A falecida in chapter 4, and, by way of conclusion, A serpente, Rodrigues’s last play, in the last chapter.

Yet, Rodrigues’s biography, rather than being a mere general contextualization so that readers may understand where the playwright is coming from, appears to function in a ghostly manner, reappearing when it is least expected. That, given Rodrigues’s topics, such as incest or a tight relationship between sex and death, becomes a natural tendency of sorts. Where do all these—oftentimes considered sordid—themes come from? And the natural answer seems to lie in the biography, and George himself will at times recur to it. In analyzing Vestido de noiva, the author states that the hallucinatory point of view “may also be explained in terms of [the playwright’s] own experience” (37), and when, in chapter 3, he attempts to compare Rodrigues’s and Eugene O’Neill’s life stories, he feels compelled to sketch in a paragraph the vicissitudes of biography in literary criticism. That does not mean to say, however, that recourse to biography constitutes a weakness in George’s study. On the contrary, it allows for a performance of Rodrigues’s own theatricality. When, amid the author’s detailed reading of the plays and their productions, Rodrigues’s figure seems to pop up, what is at play is one of the key elements in Rodrigues’s theater: spectrality.


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