000			02156cam a2200277zu 4500
001			88845683
003			FRCYB88845683
005			20250107144804.0
006			m o d
007			cr un
008			250107s2016 fr | o|||||0|0|||eng d
020			_a9783035308037
035			_aFRCYB88845683
040			_aFR-PaCSA _ben _c _erda
100	1		_aHaddad, Rosalie Rahal
245	0	1	_aBernard Shaw in Brazil _bThe Reception of Theatrical Productions, 1927–2013 _c['Haddad, Rosalie Rahal']
264		1	_bPeter Lang _c2016
300			_a p.
336			_btxt _2rdacontent
337			_bc _2rdamdedia
338			_bc _2rdacarrier
650		0	_a
700	0		_aHaddad, Rosalie Rahal
856	4	0	_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88845683 _qtext/html _a
520			_aIn 1927, the first production of Pygmalion was staged in Brazil. At the time, over 65 per cent of the adult Brazilian population was illiterate, which makes it all the more surprising that directors and producers dared to stage such a controversial playwright – a writer who had often been rejected by the more sophisticated theatregoer in England. This book analyses the reception of almost a century of Brazilian productions of Pygmalion, My Fair Lady, Arms and the Man, Candida and Mrs Warren’s Profession, setting that analysis in the context of the political, economic and cultural climate at the time of each production. What emerges is a faithful portrait of a country where theatre and theatre criticism are precariously established, and the theatregoer with no knowledge of English cannot be certain that the translation or adaptation they are watching bears anything more than a passing resemblance to the original. Nonetheless, Brazil has also witnessed a number of fine productions, presented by highly skilled actors and directors and reviewed by well-informed and articulate critics. As well as supplying fascinating detail on the wide range of Shaw productions staged in Brazil over the last ninety years, this volume also generates valuable insights into the complexities of twentieth-century Brazilian society.
999			_c35583 _d35583