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Uma demoradíssima arte por espontâneo Análise genética de Aqui Cáucaso de Almada Negreiros
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Aqui Cáucaso, de Almada Negreiros (1893-1970), é uma peça publicada
postumamente em 1971, cuja génese textual permanece pouco explorada. Esta
dissertação propõe-se investigar o percurso de escrita da obra a partir do conjunto de
manuscritos autógrafos conservados no espólio do autor. O trabalho resulta de um
confronto entre as versões impressas e os documentos preparatórios, procurando
entender as estratégias de composição e reformulação que definiram a estrutura final
do texto.
Partindo da versão publicada para regressar aos seus estádios intermédios de
desenvolvimento, identificam-se fragmentos divergentes, intervenções sucessivas e
variantes estruturais que desafiam a leitura linear da peça enquanto primeiro ato de
uma trilogia inacabada. A investigação mostra como Almada reformulou
progressivamente o projeto inicial, convergindo para uma peça autónoma, estruturada
de forma a integrar conteúdos originalmente dispersos.
A análise demonstra ainda que Aqui Cáucaso apresenta uma arquitetura
especular entre diálogo e monólogo, construída intencionalmente através de sucessivas
intervenções autorais sobre versões anteriores. Para além da sua dimensão temática, o
estudo evidencia a relevância da crítica genética na leitura de obras em permanente
reelaboração, propondo uma nova base para futuras edições da peça. Ao reunir o texto
e os seus gestos de criação, este trabalho pretende contribuir para um conhecimento
mais aprofundado da dramaturgia tardia de Almada Negreiros e para a valorização do
seu espólio enquanto objeto de investigação crítica.
Aqui Cáucaso, by Almada Negreiros (1893-1970), is a posthumously published play (1971) whose textual genesis remains understudied. This dissertation investigates the writing process of the work based on the author’s autograph manuscripts preserved in his personal archive. Through a comparative analysis of the published versions and the preparatory materials, the research explores the compositional strategies and structural reformulations that shaped the final form of the play. Structured into three main sections — critical reading, editorial analysis, and genetic approach — the study follows a backward journey, moving from the edited version back to earlier stages of development. Along the way, divergent fragments, successive interventions, and structural variants are identified, challenging the notion that the play is merely the first act of an unfinished trilogy. The investigation suggests that Almada progressively reworked the original project, culminating in an autonomous piece that incorporates previously dispersed content. The analysis further shows that Aqui Cáucaso presents a specular architecture between dialogue and monologue, intentionally constructed through successive authorial interventions on earlier versions. Beyond its thematic dimension, the study highlights the relevance of genetic criticism in the reading of works in continuous reworking, proposing a new foundation for future editions of the play. By bringing together the text and its creative gestures, this research aims to contribute to a deeper understanding of Almada Negreiros’s late dramaturgy and to the recognition of his archive as a valuable object of critical inquiry.
Aqui Cáucaso, by Almada Negreiros (1893-1970), is a posthumously published play (1971) whose textual genesis remains understudied. This dissertation investigates the writing process of the work based on the author’s autograph manuscripts preserved in his personal archive. Through a comparative analysis of the published versions and the preparatory materials, the research explores the compositional strategies and structural reformulations that shaped the final form of the play. Structured into three main sections — critical reading, editorial analysis, and genetic approach — the study follows a backward journey, moving from the edited version back to earlier stages of development. Along the way, divergent fragments, successive interventions, and structural variants are identified, challenging the notion that the play is merely the first act of an unfinished trilogy. The investigation suggests that Almada progressively reworked the original project, culminating in an autonomous piece that incorporates previously dispersed content. The analysis further shows that Aqui Cáucaso presents a specular architecture between dialogue and monologue, intentionally constructed through successive authorial interventions on earlier versions. Beyond its thematic dimension, the study highlights the relevance of genetic criticism in the reading of works in continuous reworking, proposing a new foundation for future editions of the play. By bringing together the text and its creative gestures, this research aims to contribute to a deeper understanding of Almada Negreiros’s late dramaturgy and to the recognition of his archive as a valuable object of critical inquiry.
Descrição
Palavras-chave
Aqui Cáucaso Genetic criticism Almada Negreiros Mythology Prometheus Mitologia Crítica genética Prometeu