João Cabral em dois autos
Esse artigo propõe uma breve análise de Morte e vida severina em contraposição ao Auto do frade, ambos poemas de João Cabral de Melo Neto. Se, na década de 1960, o auto de natal pernambucano alcançou grande êxito no meio teatral, é curioso constatar que a peça da década de 1980, centrada na figura h...
Ausführliche Beschreibung
Autor*in: |
Renan Nuernberger [verfasserIn] |
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Format: |
E-Artikel |
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Sprache: |
Portugiesisch |
Erschienen: |
2020 |
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Übergeordnetes Werk: |
In: Remate de Males - Universidade Estadual de Campinas, 2019, 40(2020), 1 |
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Übergeordnetes Werk: |
volume:40 ; year:2020 ; number:1 |
Links: |
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DOI / URN: |
10.20396/remate.v40i1.8657713 |
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Katalog-ID: |
DOAJ069994366 |
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Esse artigo propõe uma breve análise de Morte e vida severina em contraposição ao Auto do frade, ambos poemas de João Cabral de Melo Neto. Se, na década de 1960, o auto de natal pernambucano alcançou grande êxito no meio teatral, é curioso constatar que a peça da década de 1980, centrada na figura histórica de frei Caneca, não obteve o mesmo sucesso. Tendo isso em vista, o artigo pretende refletir sobre os motivos que justificam a distância entre as peças, atravessada por duas décadas de ditadura civil-militar no Brasil. |
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Esse artigo propõe uma breve análise de Morte e vida severina em contraposição ao Auto do frade, ambos poemas de João Cabral de Melo Neto. Se, na década de 1960, o auto de natal pernambucano alcançou grande êxito no meio teatral, é curioso constatar que a peça da década de 1980, centrada na figura histórica de frei Caneca, não obteve o mesmo sucesso. Tendo isso em vista, o artigo pretende refletir sobre os motivos que justificam a distância entre as peças, atravessada por duas décadas de ditadura civil-militar no Brasil. |
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Esse artigo propõe uma breve análise de Morte e vida severina em contraposição ao Auto do frade, ambos poemas de João Cabral de Melo Neto. Se, na década de 1960, o auto de natal pernambucano alcançou grande êxito no meio teatral, é curioso constatar que a peça da década de 1980, centrada na figura histórica de frei Caneca, não obteve o mesmo sucesso. Tendo isso em vista, o artigo pretende refletir sobre os motivos que justificam a distância entre as peças, atravessada por duas décadas de ditadura civil-militar no Brasil. |
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