Commedia dell'arte in crossroads territory: the king of hell becomes Saci.
This article will elaborate the idea of a Commedia dell'arte spirit, synthesized in the Harlequin mask from its origin in the historical phenomenon and its diabolical myth. To expose the reflection in a practical way, it is crossed with the concept of crossroad by Leda Maria Martins (1995, 2003...
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2022 |
| País: | Brasil |
| Recursos: | Universidade do Estado de Santa Catarina (UDESC) |
| Repositório: | Móin-Móin (Online) |
| Idioma: | português |
| OAI Identifier: | oai::article/22420 |
| Acesso em linha: | https://periodicos.udesc.br/index.php/moin/article/view/22420 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Commedia dell'arte Arte da Comédia Arlequim Saci grotesco Art of Comedy Harlequin grotesque |
| Resumo: | This article will elaborate the idea of a Commedia dell'arte spirit, synthesized in the Harlequin mask from its origin in the historical phenomenon and its diabolical myth. To expose the reflection in a practical way, it is crossed with the concept of crossroad by Leda Maria Martins (1995, 2003) that understands Brazil as a territory of amalgamation of cultures. To provide practical support, the character/mask Saci - and the origin of Sacy Pererê - from the play Aconteceu no Brasil enquanto o ônibus não vem do grupo Arte da Comédia (Curitiba-PR) will be referred to as a possible analogue of Harlequin, and the relations of the grotesque that are inherent to both the theater style and the masks. |
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