Abstract
Resumo: O presente artigo tem como objetivo destacar questões históricas e sociais no processo de construção do termo raça e as consequências de uma ideologia racista no campo dramatúrgico. A classificação racial produzida, principalmente, por cientistas naturalistas sustentou uma série de representações paradigmáticas difundidas na cena teatral no decorrer dos séculos XIX e XX. Com o intuito de fazer provocações sobre a criação da personagem negra no teatro, o texto propõe uma reflexão crítica dos estereótipos e questiona a perspectiva teórica teatral hegemônica dos estudos da história do teatro e da dramaturgia.
Highlights
In recent years acting as a researcher, I have noticed a need to develop a reflection about race, racism and the Afro-Brazilian culture in the artistic field
I have been participating1 in events, congresses and seminaries and, most of time, I find an expressive number of intellectuals, researchers, black and non-black artists who search for a critical look of the theatrical and which brings a production related with the Brazilian black theatre in their history2
I still think that we find, in the epistemological space, a colonialist practice, which makes us repeat a historical notion starting from the colonizer glance. It is not about a discussion at a personal level, i.e., which are the thematic preferences of each researcher or which are the choices of each curriculum, bust it is about noticing the consequences of a single narrative concerning the theatre history or the theatrical theories
Summary
In recent years acting as a researcher, I have noticed a need to develop a reflection about race, racism and the Afro-Brazilian culture in the artistic field. I have been teaching theoretical disciplines in the university course of theatre, and I observe a concentration of theories related with the knowledge produced by European countries, France, England and Germany This axis extends to Russia and, depending on the temporal cutting, to the United States of America. I still think that we find, in the epistemological space, a colonialist practice, which makes us repeat a historical notion starting from the colonizer glance It is not about a discussion at a personal level, i.e., which are the thematic preferences of each researcher or which are the choices of each curriculum, bust it is about noticing the consequences of a single narrative concerning the theatre history or the theatrical theories. I present some points that I consider relevant to think about concerning the challenges of a contemporary dramaturgy that realizes, in a critical manner, the ideological marks and policies spread by the scientific racism and disseminated in dramatic representations
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