De Sangue e Vinho: As Bacchae de Soyinka como exemplo de teatro sincrético, circular e multidimensional
DOI:
https://doi.org/10.47661/afcl.v13i26.23376Palavras-chave:
Dioniso, Bacantes, Teatro, Wolé Soyinka, EurípidesIorubáResumo
Este artigo é em um sumário da obra Bacchae of Euripides: A Communion Rite [Bacantes de Eurípedes: Um Rito de Comunhão], de Wole Soyinka, uma reescritura dramática nigeriana de As Bacantes, de Eurípides. Esta análise, que identifica as similaridades e as discrepâncias entre os antigos mitos e deuses gregos e a cosmogonia e os rituais iorubás, estará concentrada na ideia de que o drama é o meio ideal de expressão social e política dentro de um espaço pós-colonial. Os seguintes aspectos das Bacchae de Soyinka serão levados em consideração: a relação entre o protótipo clássico e a sua versão iorubá (a recontextualização de tempo, espaço e personagens; as similaridades e as discrepâncias entre os antigos mitos e deuses gregos e a cosmogonia e o folclore iorubás); o sincretismo cultural e metafísico; terceiro e último, a metamorfose da identidade do mito, isto é, a desconstrução dos cânones e temas ocidentais tradicionais, substituídos por rituais pré-coloniais. O resultado é um teatro sincrético.
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