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Resumo(s)
Em Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal
problematiza-se o lugar da crítica de teatro no interior do polissistema teatral português.
Tal programa baseou-se na hipótese de que a crítica jornalística de teatro não encontrou ainda,
entre nós, uma inserção adequada nos Estudos de Teatro, sendo vulgarmente sujeita ou à total
omissão ou a uma utilização pontual e difusa, que se tem concretizado através de uma estratégia
paradoxal de (sub)figuração, v.g., a ela se recorre como exemplo ‘autorizado’, ao mesmo tempo
que a sua citação truncada – por conveniência do argumento que deveria ilustrar – não só a descontextualiza
do seu continuum cultural e ideológico, como inviabiliza, também, a aferição da relevância
sistémica que a mesma assumira à data da publicação.
Desta desqualificação da crítica jornalista resultam duas consequências ponderosas: o
enfraquecimento do espaço público, afectado pela exclusão de uma das práticas que o vem constituindo
desde o século XIX; e a rasura da memória performativa, fonte indispensável para a escrita
de uma efectiva, que não apenas literária, história do teatro.
Para tornar sustentável a visibilidade da crítica jornalística propõe-se, então, uma tese que se
desenvolve em duas vias. A primeira delas visa estatuir a crítica jornalística não apenas como um
epifenómeno, irrelevante porque transitivo, de provocação inconsequente da ordem sociocultural
instalada, mas, sobretudo, como possibilidade teórica que, para além das suas realizações concretas,
possui os instrumentos necessários para intervir na modelação do sistema teatral e, desse modo,
«contribuir para reforma de práticas e de ânimos» (cf. Leone, 2005a: 105). Tal desígnio impôs a
desconstrução do conceito de crítica (não somente de teatro), em cujo processo se determinam os
traços distintivos que permitem impor a noção de ‘crítica jornalística’, ponderando-se, ainda, os recentes
enquadramentos teóricos e metodológicos que a integraram no discurso académico (europeu
e norte-americano) como problema autónomo.
Assim firmada como questão pertinente, a ‘crítica jornalística’ é sujeita – na segunda via – à
sua experimentação no caso concreto da academia portuguesa, concluindo-se pela sua ‘extemporaneidade’.
Face aos resultados obtidos, ilustram-se as ‘condições de possibilidade’, estabelecidas na
primeira via, através do estudo da intervenção do crítico de teatro português Eduardo Scarlatti
(1898-1990) nas décadas de 20 e de 30 do século XX, nomeadamente quanto ao seu importante
contributo para uma discussão moderna do conceito de crítica (e, nele, de crítica de teatro).
Critical Device: conditions of possibility in journalistic theatre criticism in Portugal (Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal) analyses the place of theatre criticism within the Portuguese theatrical polysystem. Such a programme was based on the hypothesis that journalistic theatre criticism hasn’t yet found an adequate insertion within Portuguese Theatre Studies, as it has been consistently subjected to either absolute omission or a punctual and diffuse use through a paradoxical strategy of (under-)figuration. That is, it is “allowed” as an example whilst its truncated quotation – for the convenience of the argument it should illustrate – not only decouples its practice from the cultural and ideological continuum, but also renders unachievable the measurement of the systemic relevance it assumed at the time of its original publication. This disqualification of journalistic criticism has two important consequences: the weakening of public space, affected by the exclusion of one of the practices that has constituted it since the 19th century; and the erasure of performative memory, an indispensable source for writing an effective history of theatre that isn’t simply literary. In order to achieve a sustainable visibility of journalistic criticism the dissertation follows two strategies. First, it aims to define journalistic criticism not as an irrelevant and transient epiphenomenon – an inconsequential provocation of the installed sociocultural order – but, instead, as a theoretical possibility that, in addition to its tangible achievements, also possesses the necessary tools to intervene in modelling the theatrical system and, thereby aims to, “contribute to a reform of practices and moods” (Leone, 2005a: 105). Such an enterprise implies a deconstruction of the concept of criticism (not merely in its theatrical vent) in order to determine the distinctive traits that allow for the notion of “journalistic criticism,” whilst also considering the recent theoretical and methodological frameworks that have enabled its integration in (European and North-American) academic discourse as a stand-alone problem. Secondly, and after having been established as a pertinent question, “journalistic criticism” is examined in the context of Portuguese academia, from where it emerges with a mark of “extemporaneity.” Given the obtained results, the “conditions of possibility” established beforehand are then illustrated through a study of the intervention of the Portuguese theatre critic Eduardo Scarlatti (1898-1990) during the 1920s and 1930s, particularly with regard to his important contribution to a modern discussion of the concept of criticism (and, within it, of theatre criticism).
Critical Device: conditions of possibility in journalistic theatre criticism in Portugal (Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal) analyses the place of theatre criticism within the Portuguese theatrical polysystem. Such a programme was based on the hypothesis that journalistic theatre criticism hasn’t yet found an adequate insertion within Portuguese Theatre Studies, as it has been consistently subjected to either absolute omission or a punctual and diffuse use through a paradoxical strategy of (under-)figuration. That is, it is “allowed” as an example whilst its truncated quotation – for the convenience of the argument it should illustrate – not only decouples its practice from the cultural and ideological continuum, but also renders unachievable the measurement of the systemic relevance it assumed at the time of its original publication. This disqualification of journalistic criticism has two important consequences: the weakening of public space, affected by the exclusion of one of the practices that has constituted it since the 19th century; and the erasure of performative memory, an indispensable source for writing an effective history of theatre that isn’t simply literary. In order to achieve a sustainable visibility of journalistic criticism the dissertation follows two strategies. First, it aims to define journalistic criticism not as an irrelevant and transient epiphenomenon – an inconsequential provocation of the installed sociocultural order – but, instead, as a theoretical possibility that, in addition to its tangible achievements, also possesses the necessary tools to intervene in modelling the theatrical system and, thereby aims to, “contribute to a reform of practices and moods” (Leone, 2005a: 105). Such an enterprise implies a deconstruction of the concept of criticism (not merely in its theatrical vent) in order to determine the distinctive traits that allow for the notion of “journalistic criticism,” whilst also considering the recent theoretical and methodological frameworks that have enabled its integration in (European and North-American) academic discourse as a stand-alone problem. Secondly, and after having been established as a pertinent question, “journalistic criticism” is examined in the context of Portuguese academia, from where it emerges with a mark of “extemporaneity.” Given the obtained results, the “conditions of possibility” established beforehand are then illustrated through a study of the intervention of the Portuguese theatre critic Eduardo Scarlatti (1898-1990) during the 1920s and 1930s, particularly with regard to his important contribution to a modern discussion of the concept of criticism (and, within it, of theatre criticism).
Descrição
Palavras-chave
Estudos de cultura Estudos de teatro Crítica de teatro Crítica jornalística História da crítica jornalística em Portugal Eduardo Scarlatti Cultural studies Theatre studies Theatre criticism History of journalistic criticism in Portugal