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Adaptações Shakespearianas no Teatro Português Contemporâneo
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Esta dissertação pretende estudar as diversas formas de adaptação shakespeariana investigando e discorrendo sobre as características que compõem estes espetáculos.
O estudo foca-se sobre as seguintes adaptações: A Tempestade (2023), encenada por António Pires e apresentada no Teatro de São Luiz; Outra Tempestade (2024), com dramaturgia de Cláudia Madeira, com encenação de Carlos J. Pessoa (com apresentação do Teatro da Garagem) e finalmente Sonho de Uma Noite de Verão (2023), Diogo Infante (encenador) e Artur Guimarães (Diretor Musical) apresentam uma versão em musical do clássico shakespeariano.
O objetivo no estudo destas adaptações é perceber o que motiva a criação destas adaptações de modo a integrar o público português no teatro contemporâneo, também procuramos expender sobre a forma como estas adaptações são realizadas e que engenhos adotam para incorporarem novas temáticas.
Shakespeare tem um lugar de destaque no mundo da dramaturgia, como tal é um dos autores mais reconhecidos dentro do mundo do teatro. Esta noção desencadeia um elevado e natural interesse sempre que uma peça sua é encenada.
Concluímos que a forma da dramaturgia Shakespeariana é inerentemente contemporânea, apesar de utilizar estruturas simplificadas baseadas na teoria de Aristóteles da unidade de tempo, ação e lugar. A resposta à pergunta de como se faz Shakespeare em Portugal depende muito das intenções originais do encenador, contudo, observamos que os hibridismos musicais e a simplificação do texto são elementos que estão presentes nestas adaptações em que nos focamos.
O encenador e os atores, tal como o resto da equipa, acabam por ser cúmplices na modernização do legado de Shakespeare, produzindo espetáculos baseados maioritariamente na conceção do encenador, sendo este o narrador principal da obra.
This dissertation aims to study the various forms of Shakespearean adaptations by investigating and analyzing the characteristics that built these plays. The study focuses on the following adaptations: A Tempestade (2023), directed by António Pires and presented at Teatro de São Luiz; Outra Tempestade (2024), with dramaturgy by Cláudia Madeira, directed by Carlos J. Pessoa (presented by Teatro da Garagem) and finally Um Sonho de Uma Noite de Verão (2023), Diogo Infante (director) and Artur Guimarães (Musical Director) present a musical version of the Shakespearean classic. The aim of studying these adaptations is to understand what motivates the creation of these adaptations to integrate Portuguese audiences into contemporary theater. We also seek to know how these adaptations are made and what devices they adopt to incorporate new themes. Shakespeare has an important role in the world of dramaturgy, and as such is one of the most recognized authors in the world of theater. This notion triggers a high and natural interest whenever one of his plays is staged. We conclude by stating that the form of Shakespearean drama is inherently contemporary, despite using simplified structures based on Aristotle's theory of the unity of time, action, and place. The answer to the question of how Shakespeare is done in Portugal depends very much on the director's original intentions, however, we have observed that musical hybridisms and simplification of the dramatic text are elements that are present in these adaptations we are focusing on. The director and the actors, alongside the rest of the team, end up being accomplices in the modernization of Shakespeare's legacy, producing shows based mostly on the director's conception. Who then becomes the main narrator of the artistic work.
This dissertation aims to study the various forms of Shakespearean adaptations by investigating and analyzing the characteristics that built these plays. The study focuses on the following adaptations: A Tempestade (2023), directed by António Pires and presented at Teatro de São Luiz; Outra Tempestade (2024), with dramaturgy by Cláudia Madeira, directed by Carlos J. Pessoa (presented by Teatro da Garagem) and finally Um Sonho de Uma Noite de Verão (2023), Diogo Infante (director) and Artur Guimarães (Musical Director) present a musical version of the Shakespearean classic. The aim of studying these adaptations is to understand what motivates the creation of these adaptations to integrate Portuguese audiences into contemporary theater. We also seek to know how these adaptations are made and what devices they adopt to incorporate new themes. Shakespeare has an important role in the world of dramaturgy, and as such is one of the most recognized authors in the world of theater. This notion triggers a high and natural interest whenever one of his plays is staged. We conclude by stating that the form of Shakespearean drama is inherently contemporary, despite using simplified structures based on Aristotle's theory of the unity of time, action, and place. The answer to the question of how Shakespeare is done in Portugal depends very much on the director's original intentions, however, we have observed that musical hybridisms and simplification of the dramatic text are elements that are present in these adaptations we are focusing on. The director and the actors, alongside the rest of the team, end up being accomplices in the modernization of Shakespeare's legacy, producing shows based mostly on the director's conception. Who then becomes the main narrator of the artistic work.
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Palavras-chave
Adaptações Shakespearianas Adaptações Teatrais Portuguesas A Tempestade Contemporaneidade Shakespeare na Contemporaneidade Sonho de Uma Noite de Verão Teatro da Garagem Teatro Português Shakespearean Adaptations Portuguese Theatrical Adaptations A Tempest Contemporary Shakespeare in Contemporary Theatre Midsummer’s Night Dream Portuguese Theatre