recepção de b brecht

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Flory, A. - A recepção de B. Brecht

Apontamentos sobre a recepção de Bertolt
Brecht no Brasil via Anatol Rosenfeld
[Notes on Berthold Brecht’s reception in Brazil, by Anatol Rosenfeld]

Alexandre Villibor Flory1
Abstract: One of the most important chapters in the reception of German theater in Brazil began in 1958 with the presentation of Berthold Brecht’s play The Good Woman of Setsuan.
The subsequent performance of many of his works brought up new dramaturgic and theoretical questions in a context that was open to aesthetic experimentation and marked by a dialectic between the theater and the turbulent social context of the period. Groups such as Arena,
Oficina, and CPC discussed, updated and articulated Brecht’s work through their experimentation. Since this reception in Brazil, both in the late 1950s and today, is based on several different theoretical and critical references, it would seem well to go back to Anatol
Rosenfeld’s critique of Brecht. From his broad knowledge of aesthetic theater, epic theater theory, Brazilian theater and Brecht’s work, Rosenfeld holds an important place in the debates on Brecht’s works and Brecht’s influence on Brazilian theater. In this article we take up several phases in Rosenfeld’s work, which is theoretical as well as historical and critical. His contributions are considered among the most lucid and updated studies on Brecht and the
Brazilian theater.
Keywords: Berthold Brecht; Anatol Rosenfeld; Brazilian theater; theater and society

Resumo: Um dos capítulos mais importantes da recepção do teatro alemão no Brasil se iniciou em 1958, com a montagem de A alma boa de Setsuan. A encenação de muitas entre suas obras a partir de então colocou novas questões dramatúrgicas e teóricas num cenário aberto à experimentação estética e marcado pela dialética entre o teatro e o turbulento contexto social brasileiro da época. Grupos como o Arena, o Oficina e o CPC discutiram, atualizaram e articularam a