Banca de QUALIFICAÇÃO: ERICK NALDIMAR DOS SANTOS

ANOTHER BAIAN THEATER ON SCENE: ARTISTS, GROUPS AND STAGES IN Senhor do Bonfim (BA) at the twilight of the 20th century.

Other theater in Bahia; Senhor do Bonfim; Theater Spaces; Theater Groups; Mutart Theater Group; 20th Century; Semiárido Baiano.

This thesis seeks to approach and dive into the potentialities of the theatrical performance in the city of Senhor do Bonfim, at the end of the second half of the 20th century, specifically, in the semi-arid region of Bahia, and to narrate stories that for a long time remained inaudible, silenced, erased and little represented in the Brazilian theatrical scene. This "other" theater needs to be recognized, re-signified and unveiled in order to be part of the history of performing arts in Brazil. Given this invisibility and the lack of research on the theater that moves away from the great urban centers, we guide our research by four perspectives: the first one, mapping the theatrical spaces; the second one goes through a survey of the theater groups of the 70's, 80's and 90's; the third one approaches the theater group Mutart, given its subversive and transgressive aspect, breaking with the scenic aesthetics of the previous decade; and the fourth one redesigns the geographic space of the semi-arid region as a place of artistic potentialities. We will sing the other theater of Bahia in the twilight of the second half of the 20th century. We rely on Alberti for our studies in Oral History, on Boal (1991) and Brecht (2005) to reflect on the interlocutions between the formation of the group and the scene. To discuss about this other theater and creative creation, Barba (1991, 1999) and in the field of subjectivities, Deleuze (1991, 1996) and Guattari (1992) contribute when he affirms that we are "desiring machines" building our own way of being. In considering the effects of disciplining and normalizing power on life and the body we draw on the studies of Foucault (1995, 2000, 2001), Butler (2001, 2010), and Louro (2000, 2007). We resorted to primary sources (newspapers and magazines), oral accounts, interviews with actors, actresses, and people linked to the performing arts for prior knowledge of the theme. Oral history was fundamental and enhanced the collection of information about the subject/object of this work. In the search for a field of action, I sought in the historical veil the impulse to tear the invisibility and silencing of the theatrical effervescence that announced the dawn of art and future contemporary research.