Dramaturgia sonora no auto da compadecida: um estudo de caso em Mato Grosso do Sul por meio da semiótica teatral

Abstract

Based on the theoretical assumptions of Charles Sanders Peirce (2015), as well as on the contributions of Lúcia Santaella (2013) concerning semiotic studies and the theories of sonorities by Ernani Maletta (2016), César Lignelli (2020), Murray Schaffer (2001), Lívio Tragtenberg (2008) and Johan Sundberg (2018), this The study seeks to analyze, based on dramaturgy and sound signs, the possibilities and idealizations established in the theatrical scene, interpreting the reverberation of these elements through Semiotics, as well as influences on our reflections as beings in constant intellectual development. Based on the analysis of the theatrical show Auto da Compadecida, by Ariano Suassuna, performed by the Seventh Class of Performing Arts at UFGD, directed by Professor Doctor Marcos Machado Chaves, in 2017, we seek to understand how Sound Dramaturgy (voice, music, noise, among others created by the members of the show) are able to relate, creating meanings and providing opportunities for the progression of literary-cultural studies. Due to the ephemeral character of the theater, the investigation was carried out from the video recording of the show and, after the analysis, we realized that the sound dramaturgy of the show contributed with the other dramaturgies, including the textual one, in order to express the aesthetic value of the scene and that while theatrical language constituted itself as a prolific sphere for analysis in the field of study of Semiotics.