Caderno de imagens

↩

9. O termo snuff – ou rapé, na gíria, pode significar morte em

vários contextos. Pode ser aplicado como substantativo ou como verbo composto (two words verb), i. e., snuff it, snuff sth out.

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10. “In these vast, splendid, and luxurious theatres were staged

trivial shows of Imperial Rome, which, however, magnificent catered, it must be confessed, for a debased public taste.”

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11. Advogado nascido em Cartago, filho de pais pagãos, Tertuliano

converteu-se ao Cristianismo, por volta do ano 193, emprestando sua erudição – que incluía desde o conhecimento jurídico, a retórica, até grande familiaridade com o idioma grego – ao fervor da fé cristã. Considerado por muitos o mais original e importante autor eclesiástico latino até Agostinho [Aurelius Augustinus (354-430)].

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12. “What state of faith, what argument of truth, what rule of

discipline, barreth among other errors of the world, the pleasures also of the public shows, hear, ye servants of God, who are coming very nigh unto God; […] In either case to some, perchance, the opinions of those heathens have still a charm, who, on this question, have been accustomed to argue against us thus: that these great refreshments of the eyes or the ears from without are no hindrance to religion in the mind and in the conscience; and that God is not offended by such gratification of a man as there is no sin in his enjoying at its proper time and in its proper place, saving always the fear and the honour due unto God. But this is what we are prepared especially to prove, how it is that these things do not accord with true religion, and with the true service of the true God. There are who think that the Christians, a people ever ready for death, are trained up to this obstinacy, by the renouncement of pleasures.”

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13. “Of these plays, the most inoffensive are comedies and

tragedies, that is to say, the dramas which poets write for the stage, and which, though they often handle impure subjects, yet

do so without the filthiness of language which characterizes many other performances; and it is these dramas which boys are obliged by their seniors to read and learn as a part of what is called a liberal and gentlemanly education.” Essa citação resulta de pesquisa em um site da rede mundial de computadores que não inclui número de páginas (Livro II, Capítulo 8). Disponível

em: <http://www.newadvent.org/fathers/1201.htm>. Acesso em: 25 set. 2008.

↩

14. “But what sort of show is that near at hand? The Coming of the

Lord, now confessed, now glorious, now triumphant. What is that joy of the Angels? What the glory of the rising saints? What the kingdom of the righteous which followeth? What the city of the New Jerusalem? And yet there remain other shows: that last and eternal Day of Judgment, the unlooked for, the scorned of the Nations, when all the ancient things of the world, and all that are rising into life, shall be consumed in one fire? What shall then be the expanse of the show?”

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15. Uma qualidade de mistério comum às práticas religiosas, que

se refere aos temores e castigos resultantes das relações entre a humanidade e as divindades, mediadas pelas limitações do ser humano, que é exposto a variadas manifestações de mistérios inexplicáveis.

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16. Aqui mencionada como o conjunto de ensinamentos do

Cristianismo, praticados durante a Idade Média, difundindo a filosofia cristã. A Escolástica ganha corpo desde o fim da Patrística, no século V, e permanece sendo aplicada até o início da Era Moderna, na segunda metade do século XV.

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17. “There are more than 200 references to the word “light” in the

Bible. About 75 of these occur in the New Testament. The Book of Job contains the most references (over 25) and the book of Psalms has about 25 references to light. In the New Testament, the Gospel of John has the most references (about 16).”

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18. “God created the light that is manifested in the angels, in the

divine Grace and, finally in optical light – thus forms of revelation at different levels. The speculative concept of light is always linked to the sensuous light, and the more a thing of the material world is permeated with light, the greater is its degree of nobilitas. […] The order of precedence of the four elements is determined by their degree of luminosity: fire, air, water and earth.”

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19. “When, in Die Musik und die Inszenierung, Adolph Appia speaks

poetically of the role light plays on the stage, he reminds us that Apollo was not only the God of Poetry but also of light. His ancient name was Phoebus Apollo, Apollo the brightly shining. The worship of light and fire recurs in the history of all peoples and is expressed in symbolical rites which we still witness today, e. g. in the Walpurgis Night bonfires lighted to greet the advent of spring.”

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20. “[…] five hundreds slaves bearing torches conducted the

audience home after a spectacle, and for festive occasions, the great Roman feasts and gathering, stationary light was provided by enormous numbers of fixed torches.”

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21. “For this purpose, apparently, cressets were used. Cotgrave’s

definition of the French falot in his 1611 Dictionaire is cresset light (such as they use in playhouse) made of ropes, wreath, pitched and put into small and open cages of iron.”

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22. Autor e Professor emérito da Universidade da

Califórnia/Berkeley. Orientou a tese de doutorado do professor Ewald Hackler – nos anos de 1980, na mesma Universidade de Berkeley –, orientador da presente tese.

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23. “While the third lesson is being read, four of the brethren shall

vest, one of whom wearing an alb as though for some different purpose, shall enter and go stealhly to the place of the ‘sepulchre’ and sit there quietly, holding a palm in his hand.

Then while the third respond is being sung, the other three brethren, vested in copes and holding thuribles in their hands, shall enter in their turn and go to [before, ante] the place of the ‘sepulchre’, step by step, as though searching for something. Now these things are done in imitation of the angel seated on [in, at] the tomb [in monumento] and of the women coming with perfumes to anoint the body of Jesus. When, therefore, he that is seated shall see these three draw nigh, wandering about as it were and seeking something, he shall begin to sing softly and sweetly, Quem quaeritis [whom seek ye]. As soon as this has been sung right through, the three shall answer together. Ihesum Narazarenum [Jesus of Nazareth]. Then he that is seated shall say [sing] Non est hic. Surrexit sicut praedixerat. Ite, nuntiate quia surrexit a mortuis. [He is not here. He is risen as he foretold. Go and announce that He is risen from the dead.] At this command the three shall turn to the choir saying [singing] Alleleuia. Ressurexit Dominus. [Aleluia. The Lord is risen] When this has been sung he that is seated, as though calling them back, shall say [sing] the antiphon Venit et videte locum [Come and see the place], and them, rising and lifting up the veil, he shall show them the place void of the Cross with only the linen in which the Cross had been wrapped. Seen this, the three shall lay down the thuribles in that same ‘sepulchre’ and, taken the linen, shall hold it up before the clergy; and, as though showing that the Lord was risen and was ho longer wrapped in it, they shall sing the antiphon: Surrexit Dominus de sepulchro [The lord is risen from the Sepulcre]. They shall then lay the linen on the altar. | When the antiphon is finished the prior, rejoincing in the triumph of our King in that He had conquered death and was risen, shall give out the hymn Te Deum laudamus [We praise Thee, o God], and thereupon all the bells shal peal.”

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24. “It was no accident that the new birth of drama occurred right at

the fulcrum of the whole church year.”

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25. “The Catholic Mass itself was filled with a light symbolism which

was, and perhaps still is, most tangibly expressed in the so

called Tenebrae ceremony in Easter week. The candles in the many branched candelabrum are put out, one by one, as a symbol of the death of Christ but the one at the top is left burning. Bishop Aethelwold, in his Concordia Regularis (965-975) tells us how the miracles of Resurrection are embodied in light.”

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26. “vernicle (or sudarium). ‘The cloth or kerchief, alleged to have

belonged to St Veronica, with which, according to legend, she wiped the face of Christ on his way to Calvary, and upon which his features were miraculously impressed’ […], or, by extension, any picture of Christ’s face shown on a cloth or veil in allusion to the story. A relic that purports to be the original vernicle has been in St Peter’s, Rome, since the late 8th century; other places have also claimed possession of the original. The name Veronica was said in the Middle Ages to derive from vera icon (‘true image’), and it is likely that the saint is purely fictitious and was invented to explain the relic. The alternative name, sudarium, is Latin for handkerchief or towel. In art, the vernicle was a popular subject from the 15th to the 17th century. Usually it is shown as being carried by St Veronica, although Zurbarán for example, painted several pictures showing the cloth by itself; Claude Mellan likewise depicted the cloth alone in his celebrated engraving of the subject.”

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27. “[…] other devils shall, one after another, point to them as they

come; and they shall take them up and thrust them into Hell; and there upon they shall cause a great smoke to arouse, and shall shout one another into Hell, greatly rejoicing.”

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28. “This concept of the spheres is directly embodied in the

Florentine liturgical plays of the 15th century, the sacre rappresentazione, these plays are the climax of the development of lighting design in the Catholic Church.”

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A santificação e a visualidade

 

1. “It has been construed as either a reaction against or an

extension of the ideals of the High Renascence, as an expression of the spiritual crises of the time […].”

↩

2. “Questa maniera di colorire accende più i colori, né altro

bisogna che diligenza et amore, perché l’olio in sé si reca il colorito più morbido, più dolce e delicato e di unione e sfumata maniera più facile che li altri, e mentre che fresco si lavora, i colori si mescolano e si uniscono l’uno con l’altro più facilmente. Et insomma li artefici danno in questo modo bellissima grazia e vivacità e gagliardezza alle figure loro, talmente che spesso ci fanno parere di rilievo, e che elle eschino de la tavola, e massimamente quando elle sono continovate di buono disegno, con invenzione e bella maniera.” (A tradução para a língua portuguesa é de Ana Maria Santanchè)

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3. “[…] masse de’ pieni e de’ vuoti, de’ lumi e delle ombre sono

equilibrate non a norma del volere, come ne’ manieristi, ma ad imitazione della scelta natura: tutto è arte, ma tutto è disinvoltura e nascondimento dell’arte. La scuola di Atene in Vaticano è forse in questo genere la più ragguardevole cosa che abbia il mondo.” (A tradução para a língua portuguesa é de Ana Maria Santanchè).

↩

4. “[…] a new type of ceiling painting which breaks completely

through the architecture to open a vision of figures swirling into the heavens and, as it were, whirling the spectator into the vortex with them. Instead of witnessing the scene as if through a proscenium arch (as in Titian’s Assumption) the spectator is made part of it.”

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5. Traduzido como “visto de baixo” ou “de baixo para cima”, a

técnica foi aplicada por Mantegna em afrescos pintados na Camera degli Sposi no palácio ducal em Mântua, em 1473. A

técnica inclui a representação em escorço, que sugere um ponto de vista extremo e cria uma espécie de deformação do objeto representado.

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6. “Correggio’s skill in depicting figures seen from below – sotto-in-

sù is the technical term – displaying wellturned limbs as they gyrate in space, set a new space for illusionism.”

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7. “The holy Synod enjoins on all bishops, and others who sustain

the office and charge of teaching, that, agreeably to the usage of the Catholic and Apostolic Church, […] they especially instruct the faithful diligently concerning the intercession and invocation of saints; the honour (paid) to relics; and the legitimate use of images […] because the honour which is shown them is referred to the prototypes which those images represent; in such wise that by the images which we kiss, and before which we uncover the head, and prostrate ourselves, we adore Christ; and we venerate the saints, whose similitude they bear: as, by the decrees of Councils, and especially of the second Synod of Nicaea, has been defined against the opponents of images. […] And the bishops shall carefully teach this, – that, by means of the histories of the mysteries of our Redemption, portrayed by paintings or other representations, the people is instructed, and confirmed in (the habit of) remembering, and continually revolving in mind the articles of faith; as also that great profit is derived from all sacred images, not only because the people are thereby admonished of the benefits and gifts bestowed upon them by Christ, but also because the miracles which God has performed by means of the saints, and their salutary examples, are set before the eyes of the faithful; […].”

↩

8. Os números em sobrescrito que aparecem nessa citação não

se referem a notas específicas desta tese, mas representam a subdivisão dos capítulos no texto de Lucas.

↩

9. Crítico de arte inglês, nascido em 1954, escreve no Guardian e

no Sunday Times.

↩

10. “[…] one very effective trick is to make dramatic use of the dark

and turn painting into theatre. A citação foi retirada de um vídeo e, portanto, não possibilita a inclusão de número de página.”

↩

11. De acordo com Oxford Dictionary of Art, o termo quadratura,

originalmente ligado aos três problemas da geometria grega, foi usado no Barroco para caracterizar a técnica ilusionista na pintura, principalmente nos afrescos pintados em tetos de edificações, aplicando a perspectiva. Usado desde a pintura romana antiga, esse procedimento ganha expressão particular no Barroco, provocando ilusão da extensão dos limites arquitetônicos de uma edificação, sugerindo tridimensionalidade inexistente. A técnica da quadratura bolonhesa foi aplicada na pintura de superfícies abobadadas, como os tetos das igrejas ou dos palácios. (CHILVERS, 2004, p. 571, tradução nossa)

↩

12. “Annibale Carraci was no theorist, but his work soon came to be

extolled as the exemplar of a rationalized version of sixteenth-century aesthetic theory, substituting for the Neoplatonic metaphysical ‘Idea’, an ideal derived from art itself. For more than two centuries it was to provide the basis of all academic teaching.”

↩

13. Numa igreja, uma estrutura ornamental em forma de dossel,

apoiada em quatro pilares, usualmente construída para abrigar um altar, e incluindo geralmente estátuas e relevos decorativos. (THE OXFORD…, 2004, p. 47, tradução nossa)

↩

14. “For the most part, these canvases decorated Jesuit churches

throughout northern and central ltaly. The subject matter of each canvas demanded scenes immersed in darkness with controlled lighting. Often by candle Iight or torch.”

↩

15. A Igreja de Santo Inácio foi construída entre 1626 e 1650, para

celebrar a canonização de Inácio de Loyola, em 1626, fundador da Companhia de Jesus, com projeto de Orazio Grassi (1583-1654).

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16. “Here is to be found the victory of the optical principle with a

new type of theatre building, the box and circle theatre: the huge auditorium with its huge tiers of boxes, one above other, lay in a mysterious darkness or semi-darkness, the light being concentrated exclusively on stage. This differentiation of the light was to be the hallmark of the public Italian theatres during the 18th and 19th centuries too.”

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17. Periódico francês, fundado em 1672 por Donneau de Visé.

Inicialmente publicado em intervalos regulares, passou a edições mensais, em 1678.

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18. “The normalized lighting system with advanced overhead, under

and side light, which had been codified by Furttenbach could very well be adapted to the more and more deepened baroque stage.”

↩

19. “[…] built on a gigantic scale, floated above the town filling the

greater part of the set.”

↩

20. Nicodemus Tessin, o jovem – homônimo do seu pai, Nicodemus

Tessin, o velho (1615-1681) – era um arquiteto sueco que estudou em Roma e Paris, na segunda metade do século XVII. Nesse período ele visitou Veneza e registrou observações em diários de viagens. Tessin, o filho, ocupou o lugar de seu pai, como arquiteto da cidade de Estocolmo. O principal projeto a ele atribuído é a reconstrução do Palácio Real da capital sueca, destruído pelo fogo em 1697.

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21. O espaço destinado à cena media 32,5 metros de profundidade,

incluindo um proscênio, cuja extensão, desde a ribalta até a cortina, tinha 4,2 metros, configurando o até hoje reconhecido

“palco italiano”, com um proscênio projetado entre a plateia e a caixa cênica.

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22. “[…] how the quite illuminated enchanted room was converted

into a terrible cave, which was quite wonderful because of the the extremes of the two such different sets.”

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23. Charles-Nicolas Cochin, o Jovem, conde de Tournai e de

Montfalcon, autor, cuja obra mais reconhecida é Cartas familiares sobre a Itália (Lettres familières sur l’Italie), publicada postumamente em 1799, depois de larga circulação em manuscrito.

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24. “It is really a gallery, a forest, a camp, a shed, a room, a

dungeon, etc. Instead of placing uniformally, as we do, the décor-elements in the two wing alleys, they distribute them all over the stage, whether they are colonnades or galleries, they place them obliquely on several diagonal lines, which increase the effect of perspective […] if there should be a small room, they limit the stage and close it so well from all sides that one may say that one is in a cavern, in a tent or under a vault.”

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25. “There are no machines at any of these theatres, so the wings

are pulled out manually, one by one, and the change is going on all through that scene. It is not agreeable to see the stage hands carrying candles and pieces of decorations across the stage while the actors are engaged in reciting.”

↩

26. “[…] have not made a sketch for the first scene since I want to

find out first whether light rods [varas] can be altered so that I can make an entirely irregular set of scenery.”

↩

 

Rotas Francesas para o teatro

 

moderno

1. De acordo com a Enciclopédia Britânica on-line, a extravaganza

é uma forma literária ou musical fundada em extrema liberdade de estilo, ostentando uma estrutura flexível, que tende a mixar elementos burlescos ou da paródia. Pode também se referir a um evento cênico, de elaborada espetacularidade, e relacionado ao Teatro de Variedades do século XVIII. (EXTRAVAGANZA, [201-])

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2. “[…] et le plus beau de cette voulte paroissoit en ce qu’elle

estóis tout percee de trous rond, boucher de vers de toutes sortes de couleurs: derriere ces verres reluisoyent autant les lampes à huile, lesquelles representoyent ou ce jardin cent mille couleurs, par la transparence du verre.”

↩

3. “Il ne sert plus dès lors à la manifestation du Verbe comme au

Moyen Âge, et devient la représentation d’une fiction en rapport de conformité ou de ressemblance plus ou moins directes avec le réel, ou le vrai, […].”

↩

4. “Ajoutez que les sièges des spectateurs étoient autresfois si

bien ordonnez, que chacun étoit placé commodément & que l’on ne pouvoit faire aucun désordre pour changer de place; au lieu que maintenant les Galléries, & le Parterre sont très-incommodes, la plupart des loges étant trop éloignées & mal situées, & le Parterre n’ayant aucune élévation, ni aucun siège.”

↩

5. “Toutes les salles actuelles se composent d’un rez-de-chaussée

[…] et d’un nombre variable d’étages. La forme circulaire, adoptée généralement, condamne les deux tiers des spectateurs de ces étages supérieurs à être placés littéralement et sans exagération aucune les uns em face des autres. L’action dramatique ne peut être suivie par eux sur la scène, qu’en tournant péniblement la tête. Si à la rigueur, toutes les personnes placées au premier rang d’un étage peuvent jouir du spectacle au prix d’une torture supportable, les occupants des trois ou quatre rangs placés en arrière sont obliges de se tenir debout, de s’arc-bouter, de se pencher dans le vide pour

apercevoir une très petite partie du théâtre. On peut même afirmer que dans tous les théâtres actuels, il existe, aux deux derniers étages, toute une série de places d’où l’on ne voit absolument rien.”

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6. O cenário de Édipo Rei, montado em 1545 no Teatro Olímpico

em Vicenza, como exemplo, mostra uma interpretação ingênua de Tebas, considerada na Antiguidade uma grande cidade, pois tinha sete ruas e uma praça: o cenário reproduz, com certo pedantismo, exatamente esse número. Sete ruas e uma praça, ou “casas e ruas” implica uma soma que daria a impressão de cidade. Nesse mesmo raciocínio ou método, várias árvores criariam essa ideia de floresta.

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7. “Mais les décors décrits dans la plupart des notices, sont plutôt

disposés comme au Moyen Âge, quoique rapetisses pour la salle de l’Hôtel. La scène se divise en compartiments, dont chacun fait un tableau complet. L’action de la pièce passe d’un compartiment à un autre et le spectateur obligeant tâche de n’en voir qu’un seul à la fois.”

↩

8. O texto editado por de Lancaster (1920, p. 78) se refere à peça

de 1630, enquanto o desenho que o ilustra é identificado como cenário para Argénis. Em qualquer caso o documento mantém seu papel de suporte para a presente discussão.

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9. “Il faut, au milieu du théâtre, un autel fort riche, deux flambeaux

et des lumières, un rechaut, de l’encens. A un des costez du théâtre, un feu d’artifice dans une mer et caché. De l’autre costé, une grotte.”

↩

10. De acordo com Boulanger e Lounsbury (1992), key light é uma

expressão originada na linguagem do vídeo e usada no teatro. No cinema, há a expressão “ataque”, com função similar. Refere-se à luz de maior brilho na cena, mais concentrada, aquela que modela as figuras. Há certas nuanças no uso das expressões “key light” e “high light”; a expressão “high light”, em

certos casos, refere-se à luz de maior iluminância, ou brilho, incidindo sobre a cena. A formação do interessado na luz para a práxis cênica deve considerar a discussão desses conceitos, inclusive no que se refere à atmosfera, incluída no texto de Boulanger e Lounsbury (1992). Por vezes, construir a atmosfera realista é um desafio com alto grau de dificuldade técnica, exige habilidade artística e apresenta sofisticada simplicidade visual, que não resulta em vantagem para o “iluminador”, uma vez que sua interferência não será evidenciada para o público que busca a obviedade grosseira e banalizada.

↩

11. “Realistic plays should have realistic light sources: thus an

interior night scene may appear to be lighted from a lamp, overhead fixture, fireplace, or moonlight through a window. The apparent source may be the key light such as a strong sunlight a window, or it may be part of the atmosphere such a source suggested by a projected venetian blind on the wall.”

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12. “Il faut, au milleu du theatre a chambre funebre et trois

tombeaux avec quantité de lumières ardantes, et que ladicte chambre s’ouvre et ferme quand il en est besoing. D’un des costez du théâtre, forme d’une maison assez belle avec deux chaires ou l’on s’assied dedans, et, du mesme costé, au quatriesme acte, un arbre […]. De l’autre costé du théâtre, un bois, un antre, forme de fontaine, et du gazon ou tapit ou se repose une dame du mesme costé du bois.”

↩

13. “Mahelot n’était pas, peut-être, tout à fait accoutumé à ce

système, ce qui explique l’omission de la nuit de quelques notices qui appartiennent à des pièces de jeunes auteurs comme Du Ryer et Rotrou. Mahelot talvez não estivesse familiarizado com este sistema, o que explica a omissão da noite nos relatos que se referem às peças dos jovens autores como Du Ryer et Rotrou.”

↩

14. “La représentation de la couleur locale se borne à um “salon à

la turque” pour Bajazet. On ne parle de machines que dans la

notice d’Amphitryon, car le Mémoire ne donne que le titre A’ Andromède, pièce fameuse pour ses machines. On ne parle plus de la nuit, comme faisait si souvent Mahelot, sauf dans la notice de la Devineresse, où il s’agit d’illuminations. Probablement l’obligation de faire venir la nuit n’appartient plus aux décorateurs.”

↩

15. “tous les pièces dont l’action necéssite des changement de lieux

spetaculaires: les tragi-comédies pré-classiques, les comédie-ballets, les óperas, ou encore les tragedies ou les comédies à machine, […].”

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16. Gaspare Vigarani (1588-1663), renomado arquiteto e cenógrafo

italiano, que esteve em Paris a convite de Mazarin, em 1659, para trabalhar na Salle de Machines das Tulherias. Depois do reduzido sucesso da sua cenografia para o balé de inauguração desta casa de espetáculos, em 1662, hostilizado por artistas franceses retornou para a Itália. (SURGERS, 2005, p. 175, tradução nossa)

↩

17. Parece remeter ao teatro grego e às substanciais referências a

tempo e lugar, na poesia dramática da Antiguidade, assim como ao teatro de Shakespeare, por motivo semelhante.

↩

18. “Tout se qui s’y dit se dirait aussi bien dans cette palace qu’en

ce jardin ou dans ce palais.”

↩

19. “[…] it appears that all these accessories were combined in the

“Marriage d’Orphée et Euridice ou la grande Journée des Machines”, performed in 1640, […].”

↩

20. Expressões da linguagem cinematográfica que se referem ao

aparecimento e desaparecimento gradual da imagem.

↩

21. Fade in e fade out (aparecer-desaparecer) simultâneos e com

tempos próprios, em um movimento de luz para um espetáculo.

↩

22. “[…] que je n’ai employée qu’à satisfaire les oreille des

spectateurs, tandis que leurs yeux sont arrêtés à voir descendre ou remonter une machine, ou s’attachent à quelque chose qui les empêche de prêter attention à ce que pourraient dire les acteurs, comme fait le combat de Persée contre le monstre.”

↩

23. “The Italians made light a more active part of the pictorial

creation. This had already been made possible by the darkened auditorium and by the more rapid rhythm of changing décor, illuminated and in dimmed light.”

↩

24. “Sur un des sommets de montagne parait Melpomène, la muse

de la tragédie; et, a l’opposite dans le ciel, on voi le Soleil s’avancer dans un char tout lumineux tire par les quatre chevaux qu’Ovide lui donne.”

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25. “Arrête un peu ta course impétueuse; | Mon théâtre, Soleil,

mérite bien tes yeux; | Tu n’en vis jamais en ces lieux | La pompe plus majestueuse; | J’ai réuni par la faire admirer, | Tous ce qu’ont de plus beau la France et l’Italie; | De tous leurs arts mes souers l’ont embellie: | Prête-moi tes rayons pour la meieux éclairer.”

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26. “Prête-moi tes rayons pour la mieux éclairez.”

↩

27. “[…] Les deux cotés et le fond du théâtre sont des palais

magnifiques, tous différents de structure, mais que gardent admirablement l’égalité et le justesse de la perspective.”

↩

28. “Si le ciel n’est injuste, il lui doit un miracle.”

↩

29. “On voit encore en celle-ci deus rangs de colonnes comme en

l’autre, mais d’un ordre si différent, qu’on n’y remarque aucun rapport. Celles-ci sont de porphyre, et tous les accompagnements qui les soutiennent et qui les finissent, de bronze ciselé, dont la gravure représente quantité de dieux et

déesses. La réflexion du lumière sur ce bronze en fait sortir um jour tout extraordinaire.”

↩

30. Ou Armand Jean du Plessis (1585-1642), primeiro-ministro e

articulador do poder na corte francesa, desde 1628 até sua morte.

↩

31. Espetáculo farsesco, de conteúdo politicamente agressivo,

muito cultivado no século XV.

↩

32. Cf. verbetes régulière e réglé, nas referências. No século XVI,

na França, a tragédia que atendia naturalmente às regras; no caso, a convenção das três unidades [ação, tempo e lugar], derivadas de interpretações da Poética de Aristóteles. O substantivo regularité, assim como o adjetivo regulier[ière] tornaram-se fortemente ligados à tragédia; o Dictionnaire de l’Académie Française asssocia ambos ao verbete tragédia (consulta à sexta edição, de 1835). Regularidade refere-se, nesse contexto, a um padrão que se considera normal, esperado, sem extrapolações: O Dictionnaire universel des synonymes de la langue française inclue nos verbete réglé e régulière associações à tragédia. (GUIZOT, 1861, p. 628)

↩

33. Ethos, como um conjunto de ideias e atitudes relacionadas a

uma organização social em particular.

↩

34. “In a first sense ‘régulière’ designates a work which follows the

rules: those rules of unity, of imitation and verisimilitude that were first articulated (or so it was thought) by Aristotle. A regular tragedy obeys the Law. This obedience, reproduced as spectacle, continually serves as a new production of the Law´s origin, the founding act of society. Secondly, ‘régulière’ defines the esthetic parameters of such a representation, by following the rules Classicism achieves a wholeness, an integrity of being in which the various part of the work are subsumed in a unified, total structure.”

↩

35. “[…] the imitation of the ancients not because they are the

ancients, but because no one since has imitated nature with the same fidelity […].”

↩

36. “Tragedy, then, is a process of imitating an action which has

serious implications, | is complete, and possesses magnitude; by means of language which has been made sensuously attractive, with each of its varieties found separately in the parts; enacted by the persons themselves and not presented through narrative; through a course of pity and fear completing the purification of tragic acts which have those emotional characteristics.”

↩

37. Da tradução inglesa: “[…] the opinion of Aristotle that as much

delight can be had from a mere reading of tragedy as from a performance of it on the stage, is false”.

↩

38. “[…] the stage is a necessity for its perfection, para o original

italiano: […] la vista essendovi necessaria, se la tragedia deve havere la sua perfettione, la quale ella ha, quando e recitata in atto con la vista convenevole.”

↩

39. “In poetry there are possible two modes of representing action,

viz., either by words and things, or by words alone; one of these modes is more similar to the thing represented, the other less; words and things together are the more similar mode, words alone the less; for in the former words are represented by words and things by things, whilst in the latter both words and things are represented by words alone.”

↩

40. “[…] that the scene of the action must be constant, being not

merely restricted to one city or house, but indeed to that one place alone which could be visible to one person”.

↩

41. “[…] the time of the representation and that of the action

represented must be exactly coincident.”

↩

42. “[…] tragedy ought to have for subject an action which

happened in a very limited extent of place and in a very limited extent of time, that is, in that place and in that time, in which and for which the actors representing the action remain occupied in acting; and in no other place and in no other time.”

↩

43. “Drama represents things by things, and words by words: the

epic represents things and words by words alone. Castelvetro’s way of stating the case is a foreboding of the rigor with which verisimilitude is to be screwed on the drama. The result is the unities.”

↩

44. “In neoclassical doctrine the fundamental demand was for

verisimilitude, or the appearance of truth. A complex concept, verisimilitude may be divided into three subsidiary goals – reality, morality, and generality. In relation to reality critics urged dramatists to confine their subjects to events which could happen in real life. Consequently, in practice, fantasy and supernatural events were usually avoided unless they were integral parts of some received story from, myth, history, or the Bible, and even in these instances they were minimized as much as possible. Furthermore, such devices on the grounds that it is unnatural for characters to speak aloud while alone or to discuss private matters in the presence of a group so large as the chorus. These devices were replaced by others, of which the most typical was the inclusion of a confidant (or trusted companion) for each of the main characters, so that he might believably reveal his inmost secrets.”

↩

45. “Although the didactic ideal had often been stated in classical

times, it was not given primary emphasis until the Humanists of the Renaissance found it necessary to justify the study and writing of literature at a time when learning was moving from purely theological concerns.”

↩

46. Ou normas de conduta baseadas na moralidade.

↩

47. Associação francesa do século XVI, composta de sete autores,

entre eles Étienne Jodelle, liderados por Pierre de Ronsard (1524-1585). Foi assim denominada numa referência à Pléiade, grupo também de sete autores, atuantes no reinado de Ptolemy II Philadelphus (285-246 a.c.).

↩

48. Obras como Le grand et vrai art de pleine réthorique (1544), de

Piérre Fabri, e Art poétique (1548), de Thomas Sibillet, perdem espaço para interpretações da Poética de Aristóteles.

↩

49. Não foi possível encontrar informação segura sobre sua data de

nascimento e/ou óbito; é, no entanto, conhecida, a sua obra Régulus, de 1582, em cujo prefácio ele questiona a regra das três unidades, que classifica de supersticiosas. Bernard Weinberg publicou uma compilação de estudos críticos, escritos no século XVI, que inclui o mencionado trabalho de Beaubreuil. A compilação foi intitulada Critical prefaces of French Renaissance, publicada em 1950, pela Northwestern Universit Press de Illinois, EUA.

↩

50. “La séconde condition est l’únité d’action, c’est à dire qu’il doit

avoir une maitresse e principal action à laquelle toutes les autres se rapportent comme les lignes de la circonference au centre.”

↩

51. A edição usada na citação não apresenta numeração de

páginas no prefácio. Incluí uma numeração arbitrária, na cópia com a qual trabalhei, para orientar a pesquisa e permitir o acesso posterior de interessados.

↩

52. “[…] car d’ordinaire l’action se termine entre deux Soleils, c’est à

dire un peu plus ou un peu moins que la moitié des vingt-quatre heures, […].”

↩

53. “Il faut toujours représenter l’histoire ou le jeu en un mesme

temps, et en un mesme lieu.”

↩

54. “Que le lieu de la scène y soit fixe et marquée. […] Qu’en un

lieu, qu’en un jour, un seul fait accompli […].”

↩

55. “Mais maintenant, bien que la Cour ne les ait pas desagréables,

& que le peuple fasse foule a toutes les occasions de voir quelque chose de semblable, je ne conseillerois pas a nos poètes de s’occuper souvent à faire de ces Piéces de Théâtre à Machines […].”

↩

56. “Il reste donc les Décorations permanentes, de quelques nature

qu’élles soient; a quoi mon avis seroit de se restraindre autant qui seroit possible.”

↩

57. “Premierement, il faut qu’elles soient necessaires et que la

piéce ne puisse être joüée sans cet ornement; […] Secondement, ils devoient être agréables à voir, car c’est ce charme que le peuple s’y laisse attirrer.”

↩

58. “Il ne faut aussit faire des Décorations qui soient contraires à

l’Unité du Lieu, comme de supposer l’Avant-Scéne pour la chambre d’un Prince, de l’aquelle on entreroit de plain-pied das une forêt; car toutes ces fictions, qoui que belles à l’oeil paroeint difforme à la Raison, qui les connoît fausses, impossibles e ridicules.”

↩

59. Linguista alemão, foi professor de literatura românica na

Universidade de Munique, e também trabalhou na Universidade de Heidelberg.

↩

60. “[…] he swept from his theater all the enchanting brilliance of a

secular and courtly nature, all the transformations and surprises in décor, all the wonders and metamorphoses; he transferred them to the mind and souls of his heroes and to the power of their speech.”

↩

61. “Racine’s drama does not need to be performed in order to be

completely effective.”

↩

62. “La Scene est en Aulide, dans la Tente d’Agamemnon.”

↩

63. “C’est vous mesme Seigneur! Quel important besoin | Vous a

fait devancer l’Aurore de si loin? | A peine um foible jour vous éclaire & me guide, | Vos yeux seuls & les miens sont ouverts dans Aulide. | Avez-vous dans les airs entendu quel bruit? | Les Vents nous auroient-ils exaucer cette nuit?”

↩

64. “Madame, je me tais & demeure immobile. | Est-ce à moi que

l’on parle, & connoit-on | Achille? ”

↩

65. “Il l’attend à l’autel pour la sacrifier.”

↩

66. “De ce spectacle affreux votre fille allarmée | […]’.

↩

67. “Le fatal sacrifice est encore suspendu. | […] l’air gémit, le fer

brille.”

↩

68. “Déja des traits en l’air s’eslevoit un nuage. | Déja couloit le

sang prémices du carnage.”

↩

69. “A peine son sang coule e fait rougir la terre; | […] Les Dieux

son sur l’autel entendre le tonerre, Les Vents agitent l’air d’heureux frémisemens, | Et la Mer leur répond par ses mugissements. | la Rive au loin gémit blanchissante d’ecume. La flame du Bucher d’elle meme s’allume. | Le Ciel brille d’éclairs, s’entrouve, & parmy nous | Jette une sainte horreur, qui nous assure tous. | Le soldat etonné dit que dans une nue | jusques sur le bucher Diane est descendue, | Et croit que s’élevant à travers de ses feux, […].”

↩

70. 2 Reis 11: 1-21.

↩

71. “La scène est dans le temple de Jérusalem, dans un vestibule

de l’appartement du grand-prêtre.”

↩

72. “Le rideau se tire.”

↩

73. “Ici le fond du théâtre s’ouvre: on voit le dedans du temple, et

les lévites armés sortent de tous côtés sur la scène.”

↩

 

No palco como num quadro e A

 

realidade na luz da cena romântica

 

1. “Il est certain que le Théâtre n’est rien qu’une Image […].”

↩

2. “Si, au lieu de se renfermer entre les personnages et de laisser

le spectateur devenir ce qu’il voudra, le poëte sort de l’action et descend dans le parterre, il son plan. Il imitera les peintres, qui, au lieu de s’attacher à la représentation rigoureuse de la nature, la perdent de vue pour s’occuper des ressources de l’art, et songent, non pas à me la montrer comme elle est et comme ils la voient, mais à en disposer relativement à des moyens techniques et comuns.”

↩

3. Nome de registro de Voltaire. Algumas prováveis razões são

apresentadas por estudiosos para que ele tenha assumido o nome: uma delas indica a inspiração numa propriedade da sua família, um castelo chamado Airvaut. Outros pensam que ele pode ter usado um anagrama da latinização do seu sobrenome que geraria Arovet Li. Acredita-se também que ele decide tomar o nome Voltaire, depois de ser preso na Bastilha, e cortar relações com seu passado, o que estabelece uma separação formal da família.

↩

4. “Un théâtre construit selon les règles tout être très vaste; il doit

représenter une partie d’une place publique, le péristyle d’un palais, l’entrée d’un temple. Il doit être fait de sorte qu’un personnage vie par les spectateurs, puisse ne l’être point par les autres personnages selon le besoin. Il doit en imposer aux

yeux qu’il faut toujours séduire les premiers. Il doit être susceptible de la pompe la plus majestueuse. Tous les spectateurs doivent voir & entendre également, en quelque endroit qu’ils soient placés. Comment cela peut-il s’exécuter sur une scène étroite au milieu d’un foule de jeunes gens qui laissent à peine dix pieds de place aux acteurs? De là vient que la plupart des pièces ne sont que de longues conversations; tout action théâtrale est souvent manquée & ridicule. Cet abus subsiste comme tant d’autres, par la raison qu’il est établi, & parce qu’on jette rarement sa maison par terre quoi qu’on sache qu’elle est mal tournée. Un abus public n’est jamais corrigé qu’à la dernière extrémité. Au reste, quand je parle d’une action théâtrale, je parle d’un appareil, d’une cérémonie, d’une assemblée, d’un événement nécessaire à la pièce; & non pas de ces vains spectacles plus puériles que pompeux, de ces ressources du décorateur qui suppléent à la stérilité du poète, & qui amusent les yeux, quand on ne fait pas parler aux oreilles & à l’âme.”

↩

5. Em grego antigo Σκὐθαι, Skútha; um grupo de povos nômades

de origem indo-europeia, que ocupou regiões como as estepes eurasianas até por volta do século III.

↩

6. “C’est dans ce grand art de parler aux yeux qu’excelle le plus

grand acteur qu’ait jamais en Anglaterre, M. Garrick qui a effrayé et attendri parmi nous ceux même qui ne savaient pas sa langue.”

↩

7. “La manière d’éclairer le spectacle et les spectateurs répondait

à cette espèce d’état de barbarie.”

↩

8. Como são conhecidos os postes aplicados na iluminação

pública, cuja denominação pode ter derivado da função de reflexão da luz, possibilitada por esses artefatos, também adaptados aos instrumentos da luz teatral.

↩

9. “Trois objets sont à remplir pour éclairer une salle de spectacle:

éclairer le théâtre et les décorations, éclairer l’acteur, éclairer le spectateur. La manière d’éclairer le théâtre et les décorations par le moyen de lampions adaptés aux feuilles des décorations, de façon que celle de devant éclaire celle qui est immédiatement derrière elle, et ainsi successivement jusqu’au fond du théâtre, n’est susceptible d’aucun inconvénient; je crois seulement qu’on pourrait faire une économie assez considérable de combustible, en adaptant à ces lampions, comme on a déjà essayé de le faire, des réverbères bien faits et mobiles, de manière qu’on pût diriger la lumière réfléchie dans les parties où on la jugerait nécessaire; on profiterait ainsi d’une portion considérable de lumière qui se perd dans l’état actuel.”

↩

10. “Cette partie du théâtre qui est toujours vue de face, et qui

représente des perspectives et des lointains, est une des plus importantes, relativement à l’illusion qu’elle doit produire sur les spectateurs; il est donc nécessaire qu’on puisse l’éclairer plus ou moins à volonté, et ce ne sera que par ce moyen qu’on pourra rendre avec vérité les divers instants du jour, l’ardeur du soleil, la lumière sombre d’un orage ou d’une tempête, un lever ou un coucher du soleil, une nuit, un clair de lune, […].”

↩

11. “cést lui qui anime la scène, c’est par lui que le sentiment passe

dans l´âme du spectateur: le moindre mouvement, la moindre altération dans ces traits, tout doit être sènti, rien ne doit échapper […].”

↩

12. Maurice Grammont (1913) assim definiu: o alexandrino era

originalmente um verso silábico composto por dois membros iguais ou hemistíquios separados por uma cesura [pausa]. Cada hemistíquio contava seis sílabas, cuja última era obrigatoriamente acentuada; mas cada uma era susceptível de conter uma sétima sílaba, tendo por vogal um e inacentuado e terminando a palavra que fornecia a sexta sílaba. Essa sétima sílaba não contava no metro e sua pronúncia encontrava lugar na pausa que separava um verso do próximo ou naquele que

comportava a cesura. Nenhuma dessas duas pausas poderia ser puramente artificial: a sintaxe as devia exigir ou pelo menos as permitir.

↩

13. “Mais, ce qui montre surtout combien nous sommes encore loin

du bon goût et de la vérité, c’est la pauvreté et la fausseté des décorations, et le luxe des habits. | Vous exigez de votre poëte qu’il s’assujettisse à l’unité de lieu; et vous abandonnez la scène à l’ignorance d’un mauvais décorateur.”

↩

14. “Dans la société, les affaires ne durent que pas de petits

incidents, qui donnerait la verité à um roman, mais qui òteraient tout l’intérêt à un ouvrage dramatique: notre attention s’y partage sur une infinité d’objets différents: mais au théâtre, où l’on ne représente que des instants particuliers de la vie réelle, il faut que nousw soyons tout entiers à la même chose.”

↩

15. “Le second acte de la piéce s’ouvre par un tableau, & finit par

un coup de theatre. […] Un incident imprévu qui se passe en action & qui change subitement 1’etat des personnages, est un coup de théâtre. Une disposition de ces personnages sur la scène, si naturelle & si vraie, que rendue fidelement par un peintre, elle me plairoit sur la toile, est un tableau.”

↩

16. “Soit donc que vous composiez, soit que vous jouiez, ne pensez

non plus au spectateur que s’il n’existait pas. Imaginez, sur le bord du théâtre, un grand mur qui vous sépare du parterre; jouez comme si la toile ne se levait pas.”

↩

17. Worvill é docente da Acadia University, na Nova Scotia,

Canadá.

↩

18. “[…] which paints the things we speak of, and places them, as

Cicero says, before our eyes, it happens whenever instead of relating simply a fact, we rather shew how it passed, not in a general way, but in all its particular circumstances. This article in the last book I placed under evidence, the name which Celsus

has given to that figure. By others is called hypotyposis and defined by them a representation of things so expressed by words, as to seem rather to be seen, than heard.”

↩

19. Gerald Frank Else (1908-1982), estudioso da Antiguidade

clássica, foi professor de latim e grego nas universidades de Michigan e Iowa.

↩

20. […] in constructing one’s plot and working them out in language,

one should put them directly before one’s eye as much as possible. That way, seeing most vividly, as if he were actually betting close to the events | as they happen, the poet can devise the appropriate ‘business’, and discrepancies are least likely to escape his notice.

↩

21. “[…] put them directly before one’s eye […].”

↩

22. De acordo com o Oxford Advanced Learner’s Dictionary a raiz

etmológica do substantivo energia, sendo em (dentro), no interior e ergon (trabalho), atividade. Estudiosos concordam que enargeia é uma palavra de difícil tradução.

↩

23. “Ces images, formées d’après les caractères, influeront aussi

sur les discours et sur le mouvement de la scène; surtout si le poëte les évoque, les voit, les arrête devant lui, et en remarque les changements. | […] je ne conçois pas comment le poëte peut commence une scène, s’il n’imagine pas l’action et le mouvement du personage qu’il introduit.”

↩

24. Graham Zanker é professor da University of Canterbury,

especialista em literatura grega.

↩

25. Zanker (1981 p. 301) cita a definição de descriptio que aparece

no Tratado ad Herenium e se refere a uma exposição vívida das consequências de uma ação que provoca indignação e piedade.

↩

26. Professora e pesquisadora emérita do Departamento de

História, Clássico e Arqueologia da Universidade de Londres/Birkbeck; professora associada do Departamento de Grego da Universidade de Paris X, Nanterre.