Arte em tempos de

Danielle Crepaldi Carvalho

In this work, I analyze the theater plays with which Henrique Maximiniano Coelho Netto (1864- 1934) - important Brazilian writer in the turn of the nineteenth century to the twentieth - started his interference in the stage of Rio de Janeiro, specially the "dramatic poem" Pelo Amor! (1897), the "lyric episode" Ártemis and the "ballad in rhythmic prose" Hóstia (1898). Through these plays, the writer claimed to defeat the crisis he believed the theatre was facing. His criticism aimed the plays presented in the commercial theaters of Rio de Janeiro and the actors and actresses that played them. Thecompanies repertoire was restricted to almost only teary melodramas and specially musical comedies - the comedies had the contribution of popular music (for example, lundu and maxixe) and presented usually funny and sometimes fantastic situations, with dialogues that eventually leaned upon double senses. Beyond the lack of artistic qualities, Netto considered the musical comedies vicious, because of the sexual insinuation they implied through dialogues and music. Therefore, the writer intended to conduct a regeneration of the stage, using for that the occidental literary tradition, from where the subjects of these plays were chosen. And because he believed the professional artists lacked intellectual conditions to present literary plays, he gave his work to be put on stage by amateur groups that had the economic elite as members. Pelo Amor! presents the desolation of a Scottish countess because of the loss of her husband and the love that she devotes to his, which is responsible for the tragic ending of both. The grim atmosphere that remains in the drama reflects in the music created by Leopoldo Miguez, that had suffered visible influence of the German musician Richard Wagner, for Miguez creates musical themes for the leading characters and paints an interaction between them in the musical field. But the idea didn t have only adepts. The same happened with Ártemis (music by Alberto Nepomuceno) and Hóstia (music by Delgado de Carvalho), in the following year. In fact, many were the detractors of the texts and music of these plays, reaction that is largely related to political aspects, once the imposition of a new artistic model intended to cause the reorganization of Rio s artistic scenery and the exclusion of work of arts that were successful among the public and also part of the critic, like the Italian opera, the musical comedies and the melodramas. I intend to analyze these plays taking in consideration the theatrical and critical production of that time and of nowadays and what Rio s writers published related to the cultural activities of the capital. This work will also occasionally refer to the printed lyrics of the plays in order to understand the relation between text and music

Arte em tempos de "chirinola" : a proposta de renovação teatral de Coelho Netto (1897-1898) / Art in times of "entrapment" : Coelho Netto´s proposal of theater renewal

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