Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-mkpzs Total loading time: 0 Render date: 2024-12-22T20:36:55.685Z Has data issue: false hasContentIssue false

13 - The Brazilian theatre in the twentieth century

Published online by Cambridge University Press:  28 March 2008

By
Severino Albuquerque
Edited by
Roberto Gonzalez Echevarría  and
Enrique Pupo-Walker
Roberto Gonzalez Echevarría
Affiliation:
Yale University, Connecticut
Enrique Pupo-Walker
Affiliation:
Vanderbilt University, Tennessee
Get access

Summary

The first three decades of the twentieth century witnessed the continued prevalence of the comedy of manners, with only slight attention being paid to the symbolist and psychological plays of Goulart de Andrade (1881–1936), Roberto Gomes (1882–1922), and Paulo Goncalves (1897–1927). Rio de Janeiro’s uncontested role as national center of theatrical activity was reinforced by the stagings of the important but short-lived Teatro da Exposição Nacional (1908) and Teatro da Natureza (1916), and by the opening of its grand Teatro Municipal in 1909. Although there was a significant increase in the number of Brazilian plays written and performed, there was nevertheless little improvement in the overall quality of the theatre, as producers and authors adhered to the hackneyed but commercially safe formulae of the comedy of manners and musical revues. Burlettas continued to draw large audiences; one of the more successful of these plays was Forrobodó (produced in Rio de Janeiro in 1911) by Carlos Bettencourt (1890–1941) and Luiz Peixoto (1889–1973), with music by the immensely successful composer of popular music and theatre scores, Chiquinha Gonzaga (Francisca Hedwiges Neves Gonzaga [1847–1935]).

The better-known playwrights of the time, such as Cláudio de Souza (1876–1954) and João do Rio (Paulo Barreto [1881–1921]), continued the spirit of earlier generations but did not break new ground. Without the hallmarks of Martins Pena’s and Artur Azevedo’s geniuses, their twentieth-century followers failed to give convincing theatrical representation to new situations and character attributes, unable as they were to steer clear of nostalgia and naive nationalism.

Type
Chapter
Information
The Cambridge History of Latin American Literature , pp. 269 - 314
Publisher: Cambridge University Press
Print publication year: 1996

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Almeida, Maria Inez Barros. Panorama visto do Rio: a Companhia Tônia-Celi-Autran, Rio de Janeiro, Ministério da Cultura/INACEN, 1987.Google Scholar
Amaral, Maria Adelaide. De braços abertos, Rio de Janeiro, Memórias Futuras Edições, 1985.Google Scholar
Andrade, Jorge. Marta, a árvore e o relógio, São Paulo, Perspectiva, 1970.Google Scholar
Andrade, Oswald. Obras completas, vol. viii: Teatro: A morta; O rei da vela; O homem e o cavalo, Rio de Janeiro, Civilização Brasileira, 1976.Google Scholar
Arrabal, José and Lima, Mariângela Alves. Teatro: o seu nome é beato, O Nacional e o Popular na Cultura Brasileira, São Paulo, Editora Brasiliense, 1983.Google Scholar
Arrabal, José and Lima, Mariângela Alves. Arte em Revista, special issue Teatro brasileiro contemporâneo, 6 (October 1981).Google Scholar
Asian, Odette, and Meyer, Marlyse. “Mort et Vie Sévérine de João Cabral de Melo Neto” in Les voies de la création théâtrale, 2.
Assunção, Leilah. Da fala ao grito, São Paulo, Edições Símbolo, 1977.Google Scholar
Assunção, Leilah. Moist Lips, Quiet Passion, in Szoka, Elzbieta and Bratcher, Joe W. III (eds.), 3 Contemporary Brazilian Plays, Austin, Host Publications, 1988.Google Scholar
Athayde, Roberto. Apareceu a Margarida, Editora Brasília, 1973.Google Scholar
Athayde, Roberto. Miss Margarida’s Way, New York, Avon, 1979.Google Scholar
Bailey, Dale S. “Pagador de Promessas: A Brazilian morality,” Latin American Theatre Review, 6:1 (1972).Google Scholar
Bissett, Judith Ishamel. “Brecht e cordel: distanciamento e protesto em Se correr o bicho pega,” Latin American Theater Review, 11:1 (1977).Google Scholar
Boal, Augusto, and Guarnieri, Gianfrancesco. “Arena conta Zumbi,” Kevista de Teatro, 378 (1970).Google Scholar
Boal, Augusto, Arena conta Tiradentes, São Paulo, Editora Sagarana, 1967.Google Scholar
Boal, Augusto. Teatro do Oprimido e outras poéticas politicas, Rio de Janeiro, Civilização Brasileira, 1976.Google Scholar
Boal, Augusto. Theater of the Oppressed, trs. Charles, and McBride, Maria Odilia, New York, Urizen Books, 1979.Google Scholar
Boal, Augusto. Ténicas latino-americanas de teatro popular: uma revolução copernicana ao contrário, São Paulo, HUCITEC, 1979.Google Scholar
Boal, Augusto. Brecht no Brasil: experiências e influências, ed. Bader, Wolfgang. Rio de Janeiro, Paz e Terra, 1987.Google Scholar
Brandão, Tânia. “Oficina: o trabalho da crise” in Monografias 1979, Rio de Janeiro, Instituto Nacional de Artes Cênicas, 1983.Google Scholar
Brownell, Virginia A. “Martyrs, victims and gods: a view of religion in contemporary Brazilian drama,” Luso-Brazilian Review, 15 (Summer supplement, 1978).Google Scholar
Brownell-Levine, Virginia. “Religious syncretism in contemporary Brazilian theatre,” Latin American Theater Review, 13:2 (Summer supplement, 1980).Google Scholar
Buarque, Chico, and Pontes, Paulo. Gota d’água: uma tragédia carioca, Rio de Janeiro, Civilização Brasileira, 1975.Google Scholar
Buarque, Chico, and Guerra, Ruy. Calabar: o elogio da traição, Rio de Janeiro, Civilizaç˜ao Brasileira, 1974.Google Scholar
Burgess, Ronald D. “Birth. Life. A Morta. de Andrade,” Luso-Brazilian Review, 22:2 (1985).Google Scholar
Butler, Ross E. Jr “Social themes in selected contemporary Brazilian dramas,” Romance Notes, 15:1 (1973).Google Scholar
Callado, Antônio. Frankel, tr. anon., , Rio de Janeiro, Serviço de Documentação do Ministério da Educação e Cultura, 1955.Google Scholar
Callado, Antônio. “Pedro the monkey,” tr. Wickerhauser, Hilda and Grossman, William L., Odyssey Review, 1 (1961).Google Scholar
Camargo, Joracy. Teatro de Joracy Camargo, São Paulo, Livraria Martins Editora, 1961.Google Scholar
Campos, Cláudia Arruda. Zumbi, Tiradentes e outras histórias contadas pelo Arena, São Paulo, Perspectiva, 1988.Google Scholar
Campos, Cláudia Arruda. Ciclo de palestras sobre o teatro brasileiro, 12 vols., Rio de Janeiro, Ministério da Cultura/INACEN, 1986–1988.Google Scholar
Castro, Consuelo. Walking Papers, in Szoka, Elzbieta and Bratcher, Joe W. III (eds.), 3 Contemporary Brazilian Plays, Austin, Host Publications, 1988.Google Scholar
Chamie, Mário. “A vela do pan-sexualismo” in Andrade, Oswald, O rei da vela, São Paulo, Difusão Européia do Livro, 1967.Google Scholar
Chaves Neto, João Ribeiro. Patética, Rio de Janeiro, Civilização Brasileira, 1977.Google Scholar
Clark, Fred M.Impermanent Structures: Semiotic readings of Nelson Rodrigues’ “Vestido de Noiva” “Album de Famílial’ and “Anjo Negro,”Chapel Hill, North Carolina Studies in the Romance Languages and Literatures, 1991.Google Scholar
Clark, Fred M., and García, Ana Lúcia Gazolla. Twentieth-Century Brazilian Theatre: Essays, Chapel Hill and Valencia: Hispanófila/Albatrós, 1978.Google Scholar
Clark, Fred M. “Tragedy and the tragic: Andrade’s Pedreira das almas,” Latin American Theatre Review, 15:1 (1981).Google Scholar
Clark, Fred M. “Oswald and Mayakovsky: O homem e o cavalo and Mystery-Bouffe,” Revista de Estudios Hispánicos, 16 (1982).Google Scholar
Correa, José Celso Martínez. “O rei da vela: manifesto do Oficina” in Andrade, O., O rei da vela, São Paulo, Difusão Européia do Livro, 1967.Google Scholar
Damasceno, Leslie Hawkins. Espaço cultural e convençoes teatrais na obra de Oduvaldo Vianna Filho, trans. Costa, Iná Camargo, Campinas, Editora da Universidade Estadual de Campinas, 1994.Google Scholar
Vincenzo, Elza Cunha. Depoimentos, n. ed.,6 vols., Rio de Janeiro, Serviço Nacional de Teatro, 1976–1982.Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, Escola de Arte Dramática, ed. Zanotto, Ilka Marinho, Mariângela Alves de Lima, Maria Thereza Vargas, and Nanci Fernandes, 29 (1989).Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, Os comediantes, ed. Dória, Gustavo, 22 (Dec. 1975).Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, Teatro do Estudante do Brasil; Teatro Universitdrio; Teatro Duse, ed. José Arrabal, 23 (Sept. 1978).Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, Teatro Experimental do Negro, ed. Müller, Ricardo G., 28 (1988).Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, O Tablado, ed. Sussekind, Flora, 27 (1986).
Vincenzo, Elza Cunha. Dionysos, special issue, Teatro Brasileiro de Comédia, ed. Guzik, Alberto and Pereira, Maria Lúcia, 25 (Sept. 1980).Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, Teatro de Arena de São Paulo, ed. Guimarães, Carmelinda, Mariângela Alves de Lima, and Maria Thereza Vargas, 24 (Oct. 1978).Google Scholar
Vincenzo, Elza Cunha. Dionysos, special issue, Teatro Oficina, ed. Peixoto, Fernando, 26 (Jan. 1982).
Vincenzo, Elza Cunha. Um teatro da mulher: dramaturgia feminina no palco brasileiro contemporaneo, São Paulo, Editora Perspectiva/Editora da Universidade de São Paulo, 1992.Google Scholar
Dória, Gustavo A.Moderno teatro brasileiro: crônica de suas raízes, Rio de Janeiro, Serviço Nacional de Teatro, 1975.Google Scholar
Dória, Gustavo. “Semana de 22: Teatro,” Cultura, 5 (1972).Google Scholar
Driskell, Charles. “The Teatro de Arena of São Paulo: an innovative professional theater for the people” in Luzuriaga, Gerardo (ed.), Popular Theater for Social Change in Eatin America: Essays in Spanish and English, Los Angeles, UCLA Latin American Center Publications, 1978.Google Scholar
Dutra, Francis A. “The theatre of Dias Gomes: Brazil’s social conscience,” Cithara, 4:2 (1965).Google Scholar
Faria, João Roberto Gomes. “Graça Aranha e o teatro,” Estudos Brasileiros, 10 (1980).Google Scholar
Fernández, Oscar. “Black theatre in Brazil,” Educational Theater journal, 29:1 (1977).Google Scholar
Figueiredo, Guilherme. A God Slept Here, tr. George, Lloyd F., Rio de Janeiro, Serviço de Documentação do Ministério da Educação e Cultura, 1957.Google Scholar
George, David. Teatro e antropofagia, tr. Brandao, Eduardo, Sao Paulo, Global Editora, 1985.Google Scholar
George, David. Grupo Macunaíma: carnavalização e mito, São Paulo, Perspectiva/EDUSP, 1990.Google Scholar
George, David. The Modern Brazilian Stage, Austin, University of Texas Press, 1992.Google Scholar
George, David. “The staging of Macunaíma and the search for national theatre,” Eatin American Theatre Review, 17:1 (1983).Google Scholar
George, David. “Os Comediantes e Bridal gown” Latin American Theatre Review, 21:1 (1987).Google Scholar
George, David. “Nelson 2 Rodrigues,” Latin American Theatre Review, 21:2 (1988).Google Scholar
Gomes, Alfredo Dias. O pagador de promessas, Rio de Janeiro, AGIR, 1961.Google Scholar
Gomes, Alfredo Dias. Teatro, 2 vols., Rio de Janeiro, Civilização Brasileira, 1972.Google Scholar
Gomes, Alfredo Dias. “Payment as pledged,” tr. Fernández, Oscar, in Woodyard, George (ed.), The Modern Stage of Latin America: Six plays, New York, E. P. Dutton, 1971.Google Scholar
Gomes, Alfredo Dias. “The cradle of the hero,” tr. Lyday, Leon, Modern International Drama, 11:2 (1978).Google Scholar
Guarnieri, Gianfrancesco. “Eles não usam black tie,” Boletim da SBAT, 54 (1959).Google Scholar
Guarnieri, Gianfrancesco. O melbor teatro de Gianfrancesco Guarnieri, São Paulo, Global Editora, 1986.Google Scholar
Guimaráes, Carmelinda. Um ato de resistência: o teatro de Oduvaldo Vianna Filho, São Paulo, MG Editores Associados, 1984.Google Scholar
Guimarães, Maria Ignez Oliveira. “A Gota d’água de Chico Buarque e Paulo Pontes: palavra poética como ação dramática e denúncia,” Estudos Brasileiros, 13 (1982).Google Scholar
Guzik, Alberto. TBC: crônica de um sonho. O Teatro Brasileiro de Comedia, 1948–1964, São Paulo, Perspectiva, 1986.Google Scholar
Khéde, Sônia Salomão. Censores de pincenê e gravata: dois momentos da censura teatral no Brasil, Rio de Janeiro, Editora Codecri, 1981.Google Scholar
Kühner, Gilberto, and Kühner, Maria Helena Oliveira. “Os centros populares de cultura: momento ou modelo” in Monografias 1980, Rio de Janeiro, INACEN, 1983.Google Scholar
Kühner, Maria Helena. Teatro popular: uma experiência, Rio de Janeiro, Francisco Alves, 1975.Google Scholar
Leite, Luiza Barreto. A mulber no teatro brasileiro, Rio de Janeiro, Edições Espetá-culo, 1965.Google Scholar
Lins, Ronaldo Lima. O teatro de Nelson Kodrigues: uma realidade em agonia, Rio de Janeiro, Francisco Alves, 1979.Google Scholar
Lopes, Angela Leite. “Nelson Rodrigues e o fato do palco” in Monografias 1980, Rio de Janeiro, INACEN, 1983.Google Scholar
Lyday, Leon F. “The Barcas and the Compadecida: autos past and present,” Luso-Brazilian Review, 11:1 (1974).Google Scholar
Lyday, Leon F. “The theater of Alfredo Dias Gomes” in Woodyard, and Lyday, , Dramatists in Revolt.
Machado, Maria Clara. Teatro infantil, Rio de Janeiro, AGIR, 1957.Google Scholar
Magaldi, Sábato. Panorama do teatro brasileiro, São Paulo, Difusão Européia do Livro, 1962.Google Scholar
Magaldi, Sábato. Um palco brasileiro: o Arena de São Paulo, São Paulo, Editora Brasiliense, 1984.Google Scholar
Magaldi, Sábato. Nelson Rodrigues: dramaturgia e encenações, São Paulo, Perspectiva/EDUSP, 1987.Google Scholar
Magaldi, Sábato. “Teatro: marco zero” in Andrade, Oswald, O rei da vela, São Paulo, Difusão Européia do Livro, 1967.Google Scholar
Marcos, Plínio. Navalba na came, São Paulo, Editora Senzala, 1968.Google Scholar
Marcos, Plínio. Dois perdidos numa noite suja, São Paulo, Global Editora, 1979.Google Scholar
Marcos, Plínio. Two Lost in a Filthy Night, in Szoka, Elzbieta and Bratcher, Joe W. III (eds.), 3 Contemporary Brazilian Plays, Austin, Host Publications.
Marcos, Plínio. “From ‘The death and life of a Severino,’ a Pernambuco Christmas play, 1954–1955,” tr. Bishop, Elizabeth, in Bishop, Elizabeth and Brasil, Emanuel (eds.), An Anthology of Twentieth-Century Brazilian Poetry, Middletown, Conn., Wesleyan University Press, 1972.Google Scholar
Martuscello, Carmine. O teatro de Nelson Rodrigues: uma leitura psicanalitica, São Paulo, Editora Siciliano, 1993.Google Scholar
Mazzara, Richard A. “Alfredo Dias Gomes, social commentator and artist,” Latin American Theatre Review, 2:2 (1969).Google Scholar
Mazzara, Richard A. “Regionalism and modern Brazilian theater,” Revista de Estudios Hispánicos, 9:1 (1975).Google Scholar
Mazzara, Richard A. “The theater of Jorge Andrade” in Woodyard, and Lyday, , Dramatists in Revolt.
Melo Neto, João Cabral. “Morte e vida severina: auto de natal pernambucano” in Duas águas, Rio de Janeiro, Livraria José Olympio Editora, 1956.Google Scholar
Mendes, Miriam Garcia. O negro e o teatro brasileiro entre 1889 e 1982, São Paulo, Rio de Janeiro, and Brasília, HUCITEC/Instituto Brasileiro de Arte e Cultura/ Fundação Cultural Palmares, 1993.Google Scholar
Michalski, Yan. O palco amordaçado: 15 anos de censura teatral no Brasil, Rio de Janeiro, Avenir Editores, 1979.Google Scholar
Michalski, Yan. O teatro sob pressão: uma frente de resistência, Rio de Janeiro, Jorge Zahar, 1985.Google Scholar
Milleret, Margo. “Entrapment and flights of fantasy in three plays by Leilah Assunção,” Luso-Brazilian Review, 21:1 (1984).Google Scholar
Milleret, Margo. “Acting into action: Teatro Arena’s Zumbi,” Latin American Theatre Review, 21:1 (1987).Google Scholar
Moreyra, Alvaro. Adão, Eva e outros membros da família, Rio de Janeiro, Serviço Nacional de Teatro, 1959.Google Scholar
Moser, Gerald M. “Jorge Andrade’s São Paulo Cycle,” Latin American Theatre Review, 5:1 (1971).Google Scholar
Mostaço, Edelcio. Teatro e política: Arena, Oficina e Opinião, São Paulo, Proposta Editorial, 1982.Google Scholar
Mostaço, Edelcio. O espetáculo autoritário: pontos, riscos, fragmentos críticos, São Paulo, Proposta Editorial, 1983.Google Scholar
Nascimento, Abdias do. “The negro theater in Brazil,” African Forum, 2:4 (1967).Google Scholar
Nunes, Mário. Quarenta anos de teatro, 4 vols., Rio de Janeiro, Serviço Nacional de Teatro, 1956.Google Scholar
Peixoto, Fernando. Teatro em pedaços, 1959–1977, São Paulo, HUCITEC, 1980.Google Scholar
Peixoto, Fernando. Teatro Oficina, 1958–1982: trajetória de uma rebeldia cultural, São Paulo, Editora Brasiliense, 1982.Google Scholar
Peixoto, Fernando. Teatro em movimento, 1959–1984, São Paulo, HUCITEC, 1986.Google Scholar
Peixoto, Fernando. “Uma dramaturgia lúcida e radical” in Andrade, Oswald, O rei da vela, São Paulo, Difusão Européia do Livro, 1967.Google Scholar
Peixoto, Fernando. “Como transmitir sinais de dentro das chamas,” Latin American Theatre Review, 7:1 (1973).Google Scholar
Pelegrino, Hélio. “A obra e O beijo no asfalto” in Rodrigues, Nelson, Teatro quase completo, vol. iv, Rio de Janeiro, Tempo Brasileiro, 1966.Google Scholar
Perrone, Charles A. “Dissonance and dissent: the musical dramatics of Chico Buarque,” Latin American Theatre Review, 22:2 (1989).Google Scholar
Pinto, Paul A. “Jorge Andrade’s three enigmas,” Hispania, 67:3 (1984).CrossRefGoogle Scholar
Pontes, Joel. “Plínio Marcos, dramaturgo da violência,” Latin American Theatre Review, 3:1 (1969).Google Scholar
Pontes, Joel. “O teatro” in Avila, Affonso (ed.), O modernismo, São Paulo, Perspectiva, 1975.Google Scholar
Pontes, Joel. “O teatro, 1930–1980: ensaio de interpretação” in Fausto, Boris (ed.), O Brasil republicano, vol. vI, São Paulo, DIFEL, 1984.Google Scholar
Posits that, in “The dynamics of tragedy in Gota d’água,” Luso-Brazilian Review, 15 (Summer supplement 1978).Google Scholar
Prado, Décio Almeida. Apresentação do teatro brasileiro moderno: critica teatral 1947–1955, São Paulo, Livraria Martins Editora, 1956.Google Scholar
Prado, Décio Almeida. Teatro em progresso: crítica teatral, 1955–1964, São Paulo, Livraria Martins Editora, 1964.Google Scholar
Prado, Décio Almeida. Exercício Findo: crítica teatral, 1964–1968, São Paulo, Perspectiva, 1987.Google Scholar
Prado, Décio Almeida. O teatro brasileiro moderno, 1930–1980, São Paulo, Perspectiva/DUSP, 1988.Google Scholar
Prado, Décio Almeida. Praia do Flamengo, 132, ed. Michalski, Yan, Rio de Janeiro, Ediçõoes Muro, 1980.Google Scholar
Prado, Décio Almeida. Kevista Civilização Brasileira, caderno especial # 2, Teatro e realidade brasileira, (July 1968).
Prado, Décio Almeida. “A evolução da literatura dramática” in Coutinho, Afrânio (ed.) A literatura no Brasil, 2nd. edn., vol. vI, Rio de Janeiro, Sul Americana, 1971.Google Scholar
Quackenbush, Louis H. “The auto tradition in Brazilian drama,” Latin American Theatre Review, 5:2 (1972).Google Scholar
Rodrigues, Nelson. Vestido de noiva e A mulher sem pecado, Rio de Janeiro, Empresa Gráflca O Cruzeiro, 1944.Google Scholar
Rodrigues, Nelson. Teatro completo, ed. Magaldi, Sábato, 4 vols., Rio de Janeiro, Nova Fronteira, 1981–1989.Google Scholar
Rodrigues, Nelson. The Wedding Dress, tr. Clark, Fred M., Chapel Hill, Hispanófila/Valencia, Albatrós, 1980.Google Scholar
Rosenfeld, Anatol. O mito e o herói no moderno teatro brasileiro, Sáo Paulo, Perspectiva, 1982.Google Scholar
Rosenfeld, Anatol. “Visão do Ciclo” in Andrade, Jorge, Marta, a drvore e o relógio, São Paulo, Perspectiva, 1970.Google Scholar
Sampaio, José Silveira. “The need for polygamy,” tr. Mirza, Gail, Modern International Drama, 9:2 (1976).Google Scholar
Santiago, Silviano. “A moratória em processo,” PMLA, 83:2 (1968).CrossRefGoogle Scholar
Schoenbach, Peter J. “Plínio Marcos: reporter of bad times” in Woodyard, and Lyday, , Dramatists in Revolt.
Schoenbach, Peter J. “Themes and directions of the Brazilian theatre, 1973–1978,” Latin American Theatre Review, 13:2 (Summer supplement 1980).Google Scholar
Schwarz, Roberto. “Cultura, 1964–1969 (o teatro)” in his O pai de família e outros estudos, Rio de Janeiro, Paz e Terra, 1978.Google Scholar
Silva, Armando Sérgio. Oficina: do teatro ao te-ato, São Paulo, Perspectiva, 1981.Google Scholar
Silva, ArmandoUma oficina de atores: a Escola de Arte Dramática de Alfredo Mesquita, São Paulo, EDUSP, 1988.Google Scholar
Silveira, Miroel. A contribuição italiana ao teatro brasileiro, 1895–1964, São Paulo and Brasília, Quíron/INL, 1976.Google Scholar
Silveira, Miroel. A outra crítica, São Paulo, Edições Símbolo, 1976.Google Scholar
Silveira, Miroel. Teatro Experimental do Negro: Testemunbos, n. ed., Rio de Janeiro, Edições GRD, 1966.Google Scholar
Silveira, Miroel. Teatro Ruth Escobar: 20 anos de resistência, ed. Fernandes, Rofran, São Paulo, Global Editora, 1985.Google Scholar
Silveira, Miroel. Uma atriz: Cacilda Becker, ed. Fernandes, Nanci and Vargas, Maria Thereza, São Paulo, Perspectiva, 1984.Google Scholar
Silveira, Miroel. Vianinba: teatro, televisão, política, ed. Peixoto, Fernando, São Paulo, Editora Brasiliense, 1983.Google Scholar
Silveira, Miroel. Viver e escrever, ed. Steen, Edla, 2 vols., Porto Alegre, L & PM, 1981–1982.Google Scholar
Soares, Lúcia Maria MacDowell. “O teatro político do Arena e de Guarnieri” in Monografias 1980, Rio de Janeiro, MEC/INACEN, 1983.Google Scholar
Souza, Naum Alves. A aurora da minha vida, São Paulo, MG Editores Associados, 1982.Google Scholar
Suassuna, Ariano. Auto da compadecida, Rio de Janeiro, AGIR, 1957.Google Scholar
Suassuna, Ariano. The Rogue’s Trial, tr. Berkeley, Dillwyn F. Ratcliff and Angeles, Los, University of California Press, 1963.Google Scholar
Sussekind, Flora Maria. “Nelson Rodrigues e o fundo falso” in Primeiro Concurso Nacional de Monografias, Brasília, Departamento de Documentação e Divulgação do Ministério da Educação e Cultura, 1977.Google Scholar
Teixeira, Selma Suely. “Análise da dramaturgia de Chico Buarque de Hollanda,” Estudos Brasileiros, 12 (1981).Google Scholar
Tolman, Jon M. “An allegorical interpretation of João Cabral de Melo Neto’s Morte e vida severina,” Hispania, 61:1 (1978).CrossRefGoogle Scholar
Turner, Doris J. “Black theater in a ‘racial democracy’: the case of the Brazilian Black Experimental Theater,” College Language Association journal, 30:1 (1986).Google Scholar
Unruh, Vicky. “Andrade’s Milagre na cela: theatrical space and body movement,” Latin American Theatre Review, 15:1 (1981).Google Scholar
Unruh, Vicky. “Language and power in Miss Margarida’s way and The lesson,” Latin American Literary Review, 14:27 (1986).Google Scholar
Unruh, Vicky. “Eluding the censor: from script to improvisation in Patética,” Modern Drama, 32:3 (1989).CrossRefGoogle Scholar
Viana Filho, Oduvaldo. Rasga coração, Rio de Janeiro, Serviço Nacional de Teatro, 1980.Google Scholar
Viana Filho, Oduvaldo. Teatro, ed. Michalski, Yan, Rio de Janeiro, Edições Muro, 1981–.Google Scholar
Woodyard, George W., and Lyday, Leon F. (eds.). Dramatists in Revolt: The new Latin American theatre, Austin, University of Texas Press, 1976.Google Scholar
Woodyard, George W. “A metaphor for repression: two Portuguese Inquisition plays,” Luso-Brazilian Review, 10:1 (1973).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×