The beginning of the history of theater in Brazil is based on theatrical exhibitions created by Jesuit priests during the 16th century.
A name of great importance for the origin of Brazilian theater was Father José de Anchieta (1534-1597), considered the first dramatist in the country.
Over time, this artistic language gains new characteristics, meeting the interests of the aristocracy and, later, it also starts to portray other parts of the population.
There were many transformations in Brazilian theater, with the first truly national theater groups only appearing in the first half of the 20th century.
How did theater come about in Brazil?
When they arrived on Brazilian soil and came across the indigenous population, the Portuguese promptly began to elaborate strategies for dominating the place and, above all, the native people.
Thus, with the objective of converting the indigenous population to Christianity, the religious used the theater as an instrument of indoctrination, in what was called catechism theater.
The theatrical format was chosen because it facilitated the presentation of Christian ideas, brought by the Portuguese.
As characteristics of catechesis theatre, the following stand out:
- concern with transmitting Catholic teachings;
- valuing the biblical purpose at the expense of artistic expression;
- accessible venues such as schools, public leisure spaces and streets;
- mix of elements of indigenous culture, such as music and dance.
In the following century, still addressing religious themes, a theater blended with popular festivities and the staging of the Via Crucis appeared. These events have the direct participation of the people.
Read too: Father José de Anchieta.
Evolution of Theater in Brazil
A remarkable event for the Brazilian cultural scene was the arrival, at the end of 1807, of Dom João VI and his family, fleeing conflicts with Napoleon Bonaparte in Europe.
Seeking to offer entertainment and leisure to the nobility, the king brings with him several artists from the plastic arts, music, dance and theater.
He then makes a decree that establishes the creation of theaters that meet the demands of the new class that settled here. Thus, the country began to receive pieces in the French model for the amusement of the aristocracy, and obviously they did not reflect the customs and culture of the people.
A remarkable work for Brazilian theater in the first half of the 19th century was Antônio José or The Poet and the Inquisition, by Gonçalves de Magalhães, staged in 1838.
The play is part of the Romanticism and is part of the dramatic genre. With nationalist objectives, it had as protagonist the actor from Rio de Janeiro, João Caetano (1808 - 1863).
Costume Comedies
In the 19th century the so-called comedy of manners also appeared, a theatrical genre, based on humor and satire, which addressed the behavior of society at the time, with caricatured characters.
The most important playwright in the comedy of manners was Martins Pena (1815-1848), responsible for some outstanding plays, such as the country's justice of the peace (1838), the English machinist (1845) and the novice (1845).
Realistic Theater
Realist theater is one of the artistic expressions that integrate Realism, a movement that emerged in Europe that opposed Romanticism and aimed to reveal latent social issues in the society.
It emerges at a time of great transformations in Brazil, with the end of slavery, the Proclamation of the Republic and the arrival of immigrants from various parts of the world to make up the working class.
With critical character, the shows addressed issues involving politics, economics and human dilemmas.
The main realist dramatists are the writers Machado de Assis (1839-1908), José de Alencar (1829-1877), Joaquim Manoel de Macedo (1820-1882) and Artur de Azevedo (1855-1908).
Brazilian theater from the 20th century
In the 20th century, theater became a more authentic language in the country. National companies emerged from the 1930s onwards, such as, for example, the Student Theater of Brazil (TEB), in 1938.
However, it was in 1943 that this expression gained greater visibility, with the premiere of the play Wedding dress, by Nelson Rodrigues, inaugurating a modern theater in the country. The Polish playwright Ziembinski signed the direction of the show.
Other important groups emerge, mainly in São Paulo and Rio de Janeiro. It is the case of the Brazilian Comedy Theater (TBC), created in 1948 by Franco Zampari. It includes important names such as Cacilda Becker, Paulo Autran, Walmor Chagas, Tônia Carrero and Fernanda Montenegro.
Years later, the Arena Theater, in 1953. The group brought a revolutionary and contesting aura to the political and social tensions of the pre-dictatorship years. A piece that marked the beginning of the company was They don't wear black tie, by Gianfrancesco Guarniere, staged in 1958.
A very important name for the Brazilian theater scene is Augusto Boal, actor and playwright who was part of Teatro de Arena.
He devised a teaching method, the Theater of the Oppressed, with the intention of making this language more democratic and accessible.
During the years of the military dictatorship, between 1964 and 1985, theatrical language suffered persecution and censorship, as well as all artistic manifestations, especially in the 60s and 70s. Therefore, some actors and playwrights had to leave the country or only managed to set up shows years later.
Brazilian theater has gained a prominent place in the country's cultural scene, being also internationally recognized.
Nowadays, there are still several groups that are dedicated to the study of expression, both experimental and commercial companies. There are also shows from other countries, such as great musicals.
You may also be interested:
- Theater history
- Types of Art
