Music, Theater, and Society in the Comedies of Luiz Carlos by Luiz Costa-lima Neto,Stephen Thomson Moore

By Luiz Costa-lima Neto,Stephen Thomson Moore

This publication clarifies the musical dramaturgy of comedy author and musician Luiz Carlos Martins Penna (1815-48) – a concept that encompasses either the theatrical textual content and its functionality. The corpus for this research consists of twelve comedies via Martins Penna written among 1833 and 1846, divided into 3 teams, which i've got referred to as Lundu, Aria, and Alleluia. The sound universe made ​​up through the 3 teams of comedies covers African-Brazilian genres and musical-choreographic kinds (batuque, fado, lundu, miudinho, muquirão), the transnational city renowned universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, as well as romantic concertos, Gregorian chant and Iberian spiritual theater (loas).

To evaluation the a number of meanings received via the musical allusions inserted into the comedy texts and theatrical performances, this learn unearths the community which integrated the writer, actors, theater vendors, publishers and the general public, and different brokers, reminiscent of black Catholic irmandades (brotherhoods), Freemasonry, and associations associated with the imperial executive.

The sound universe of the comedies of Martins Penna are in comparison to the comedic axes of the Western theatrical culture (a learn of occasions and characters) and the axes of functionality (solo and chorus), considering the connection among the repertoires written by way of Martins Penna and the repertoires of Brazilians and Portuguese artists, a mixture of actors, singers and dancers, who played in his comedies.

The examine questions the concept of authorship and divulges the significance of the partnership among theatrical writers, artists and publishers, in which the comedies of Martins Penna have reached the second one 1/2 the 19th century in the course of the present.

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