Teatro Idealizado, teatro Possível: uma estratégia educativa em Ouro Preto (1850-1860)

Abstract

This masters dissertation investigates the educative role of the theatre in Ouro Preto, as space and text, in the decade of 1850. In order to execute the research we used as data the Empire Eaws which ruled the theatre in that period; some newspapers published in Ouro Preto during the decade of 1850 O Conciliador, O Bom Senso, O Fiscal, Correiro Official de Minas; the Conservatório Dramático Brasileiros documentation related to the censorship of some theatre plays staged in Ouro Preto; oficial documents of Minas Gerais province found as part of the Public Archives of Minas Gerais; besides some dramatic texts. We tried to understand the diversity of thoughts among men of the intelectual and leading elite from Ouro Preto, related to the function of the theatre in the society and to the meanings of the theatre building and dramaturgy. We analysed the motivations that led some Ouro Preto people to invest in dramatic shows. What importance could those men have attributed to such spectacles and how those men held the notion of a pedagogical charecter in theatre? As the plays in Ouro Preto were submitted to the Empire legal determinations, they should be prevously sent to the Conservatório Dramático Brasileiros examination, the institution which shared with the police the responsability for the theatre censorship. Therefore, it was necessary to understand what was considered a good play for the censors inside the Conservatório and what was considered inadequate for brasilian stages. We also identified which repertory was read and played. We analysed in what manner the discussions that happend in the court, about how theatre should teach, influenced the repertory choice. We identified that the differnt groups and elite involved with dramatic arts in Ouro Preto had diversified opinions about the menaing given to theatre. For some leaders and intelectuals theatre was seen as a social distinctive trace and a place for sociability. The theatre building served as a meeting place, somewhere to see and be seen, somewhere to change affection and disaffection. Theatre for these government men, reinforced social places, disseminated ideals as love to the country, veneration to the Emperor and trust to the monarchic State. These people invested in the theatre buildings renovation and inprovement, and worried about setting shows in dates of official celebrations. Other leaders and intelectuals believed in the educative potential of the theatre and got involved with this art, as well as the print and the gallery, taking them as educatives and civilizing strategies / elements. Others, members of theatre companies, had the theatre as way of life. There was, in Ouro Preto, in the decade of 1850, a public reader of dramatic texts, that got interesed in a repertory composed of translations of French originals, consagrated works of French and Portuguese dramaturgy. These readings were, in general, considered by the Court intelectuals as essential for those who wanted to write plays. Since, in that period brazilian authors were encouraged to write dramaturgies, it is possible that this repertory circulated in the capital of Minas Gerais as a credit to those potential writers. Besides, there is the possibility that some literate man have interest in the works to know the dramarturgy considered legitimate. Related to the staged repertory we identified a strong presency of comedies and national dramas. Finally we could say, that theatre that happened in Ouro Preto during the decade of 1850 was result of a sum of actions and intentions of all the individuals involved with this art. Something not planned for none of these subjects. People were educate through theatre in Ouro Preto, Minas Gerais capital, to the correction of behavours , using a comic element, that impeled people to change their atitudes through the feeling of embaressment and fear.