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Bernard Shaw in Brazil

The Reception of Theatrical Productions, 1927–2013

Lang, Peter Bern,
58,90 € Preisreferenz Lieferbar in 2-3 Tagen


This book analyses the reception of Brazilian productions of Pygmalion, My Fair Lady, Arms and the Man, Candida and Mrs Warren’s Profession, setting each one in its political, economic and cultural context. As well as supplying fascinating detail on the productions, it also provides an insight into the remarkable complexity of Brazil itself.


Titel: Bernard Shaw in Brazil
Autoren/Herausgeber: Rosalie Rahal Haddad
Ausgabe: Neuausgabe

ISBN/EAN: 9783034319294

Seitenzahl: 276
Format: 22,5 x 15 cm
Produktform: Taschenbuch/Softcover
Gewicht: 440 g
Sprache: Englisch

Rosalie Rahal Haddad is Vice-President of the ABEI (Brazilian Association of Irish Studies) and an associate researcher for the William Butler Yeats Chair of Irish Studies at the University of São Paulo, Brazil. She holds a doctoral degree from the University of São Paulo and a post-doctoral degree from the State University of São Paulo. She has published on Bernard Shaw and other Irish playwrights, both in Brazil and internationally, and has also produced Bernard Shaw and Brian Friel plays in São Paulo.

In 1927, the first production of Pygmalion was staged in Brazil. At the time, over 65 per cent of the adult Brazilian population was illiterate, which makes it all the more surprising that directors and producers dared to stage such a controversial playwright – a writer who had often been rejected by the more sophisticated theatregoer in England. This book analyses the reception of almost a century of Brazilian productions of Pygmalion, My Fair Lady, Arms and the Man, Candida and Mrs Warren’s Profession, setting that analysis in the context of the political, economic and cultural climate at the time of each production. What emerges is a faithful portrait of a country where theatre and theatre criticism are precariously established, and the theatregoer with no knowledge of English cannot be certain that the translation or adaptation they are watching bears anything more than a passing resemblance to the original. Nonetheless, Brazil has also witnessed a number of fine productions, presented by highly skilled actors and directors and reviewed by well-informed and articulate critics. As well as supplying fascinating detail on the wide range of Shaw productions staged in Brazil over the last ninety years, this volume also generates valuable insights into the complexities of twentieth-century Brazilian society.

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