| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 1.38 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
A telenovela é um produto televisivo já consumado e garantido como o maior género ficcional português, desde a primeira telenovela portuguesa estreada na RTP em 1982 até aos dias de hoje. Tornou-se um produto agregador de audiências, e um mercado próprio, quando em 2000 José Eduardo Moniz confirmou a propensão dos portugueses para a telenovela, criando um mercado de telenovelas portuguesas. A partir daí o mercado cresceu, profissionalizou-se, conquistou audiência própria e adquiriu características originais, adequadas à sua audiência. O humor está presente em praticamente todas telenovelas portuguesas, e, por isso, entendeu-se ser necessário estudar a importância da comicidade nas telenovelas portuguesas e quais foram os motivos para a criação de Festa É Festa, a primeira telenovela portuguesa totalmente cómica. Esta investigação propõe-se analisar a comédia nas telenovelas feitas em Portugal e explicar a aceitação pela audiência de Festa É Festa. A metodologia da investigação centrou-se no levantamento e interpretação da comédia usada nas telenovelas portuguesas de 2010 a abril de 2023; em entrevistas aos decisores e produtores de Festa É Festa e em entrevistas de contraste; numa análise de audiências, em observação participante e numa análise aos recursos humorísticos utilizados nesta telenovela com base na teoria levantada no estado da arte. Os resultados dos dados obtidos através da metodologia escolhida, permitiram responder às questões de investigação da tese, ou seja, saber a importância da comicidade na telenovela portuguesa e as razões do sucesso de Festa É Festa. A metodologia indicada permitiu verificar a propensão grande das audiências para o produto cómico e para a inserção da comédia na telenovela portuguesa, explicando que a audiência tenha aceitado uma novela totalmente cómica em 2021. A isso juntou-se o facto de o humor em tempos de pandemia ter sido muito relevante, o que se provou quando Festa É Festa veio permitir ao espectador desanuviar do ambiente tenso que vivia.
The telenovela is a television product that is already consummate and guaranteed to be the biggest Portuguese fictional genre, from the first Portuguese telenovela premiered on RTP in 1982 to the present day. It became an audience-generating product, and a market of its own, when in 2000 José Eduardo Moniz confirmed the Portuguese penchant for telenovelas, creating a market for Portuguese telenovelas. Since then, the market has grown, become more professional, gained its own audience, and acquired original characteristics suited to its audience. Humor is present in practically all Portuguese telenovelas, which is why it was considered necessary to study the importance of comedy in Portuguese telenovelas and the reasons for the creation of Festa É Festa, the first fully comedic Portuguese telenovela. This research aims to analyze comedy in telenovelas made in Portugal and to explain the audience's acceptance of Festa É Festa. The research methodology focused on surveying and interpreting the comedy used in Portuguese telenovelas from 2010 to April 2023; interviews with the decision-makers and producers of Festa É Festa and contrast interviews; an analysis of audiences, participant observation and an analysis of the humorous resources used in this telenovela based on the theory found in the state of the art. The results of the data obtained through the chosen methodology have made it possible to answer the research questions of the thesis, i.e. to find out the importance of comedy in Portuguese telenovela and the reasons for the success of Festa É Festa. The methodology indicated made it possible to verify the audience's great propensity for comedic product and for the insertion of comedy in Portuguese telenovela, explaining why the audience accepted a totally comedic soap opera in 2021. Added to this was the fact that humor in times of pandemic was very relevant, which was proven when Festa É Festa allowed viewers to unwind from the tense atmosphere they were experiencing.
The telenovela is a television product that is already consummate and guaranteed to be the biggest Portuguese fictional genre, from the first Portuguese telenovela premiered on RTP in 1982 to the present day. It became an audience-generating product, and a market of its own, when in 2000 José Eduardo Moniz confirmed the Portuguese penchant for telenovelas, creating a market for Portuguese telenovelas. Since then, the market has grown, become more professional, gained its own audience, and acquired original characteristics suited to its audience. Humor is present in practically all Portuguese telenovelas, which is why it was considered necessary to study the importance of comedy in Portuguese telenovelas and the reasons for the creation of Festa É Festa, the first fully comedic Portuguese telenovela. This research aims to analyze comedy in telenovelas made in Portugal and to explain the audience's acceptance of Festa É Festa. The research methodology focused on surveying and interpreting the comedy used in Portuguese telenovelas from 2010 to April 2023; interviews with the decision-makers and producers of Festa É Festa and contrast interviews; an analysis of audiences, participant observation and an analysis of the humorous resources used in this telenovela based on the theory found in the state of the art. The results of the data obtained through the chosen methodology have made it possible to answer the research questions of the thesis, i.e. to find out the importance of comedy in Portuguese telenovela and the reasons for the success of Festa É Festa. The methodology indicated made it possible to verify the audience's great propensity for comedic product and for the insertion of comedy in Portuguese telenovela, explaining why the audience accepted a totally comedic soap opera in 2021. Added to this was the fact that humor in times of pandemic was very relevant, which was proven when Festa É Festa allowed viewers to unwind from the tense atmosphere they were experiencing.
Description
Keywords
Telenovela Ficção portuguesa Núcleos cómicos Comédia Humor Recursos humorísticos Audiência Portuguese fiction Comic nuclei Comedy Humorous resources Audience