The art of theater from France, Portugal and Brazil in Emile Doux figure

Abstract

The research will focus on the history and activities of the actor and theatrical director Franco-Brazilian Emil (io)e Doux formed by the French Drama Conservatoire and engaged in a professional company that in the 1830s come to Lisbon . With the departure of the company, he decided to settle in the Portuguese capital and remained there for almost twenty years. Then, it became one of the most important characters of Lisbon theatrical history and had been responsible for some time by the "national theater" Portuguese. Doux renewed the scene of the Portuguese theater, introducing new genres and performance styles.The story of Doux in Portugal, however, was not only marked by successes. Clashes with local entrepreneurs and artists were constant in their experience, forcing him move to Brazil.In Rio de Janeiro, soon joined the most important Brazilian actor, João Caetano, but also worked with the new group who had been trying a renewal of the Brazilian scene. Doux remained active for another 20 years, until his death in the late 1870. Shortly before this became a naturalized Brazilian.The research to be conducted from existing documentation on file in Brazil, Portugal and France fits the perspective of project Global Theatre History investigating the emergence of theater as a global phenomenon over the past centuries. This perspective is of broader and believes that the 150 years ranging from 1850 to 1990, the nature of the theater was radically transformed the world, as the performing arts are no longer a defined cultural form, practiced and experienced predominantly locally to acquire global reach.Although it is known that colonialism and imperialism have created powerful socioeconomic dependence networks, the study of performing arts is still attached to the idea that the theater remains a local phenomenon, even provincial. Except for studies that focus primarily on practical English-speaking theater and its movement within the British Empire and its former colonies, rare are the work on the theater Latin languages, of which we mention that coordinated by Jean-Claude Yon, Le théâtre français à l'étranger au XIXe siècle.In the case of the Brazilian theater, the link with Portugal in the first instance and then with France has always been recognized, but little explored in "material" details: the practice of tours, exchanges between artists, even the formation of "artistic families" of various nationalities that have not been adequately studied and understood in its dynamics and consequences for the setting of what is called "Brazilian national theater."The aim of the research is to understand and analyze the process that links these cultures and nationalities from the study of a figure who embodies this influence: Emile Doux, or Emilio Doux as he became known first in Portugal and then in Brazil.The bibliography of global theater studies, is still scarce at the international level and more on national. The project intends to continue the article published in book theater routes between Portugal and Brazil (2012), expanding the horizon of references, deepening the knowledge of the artist's career and evaluating more properly what he represented to the Brazilian theater by consulting the new files and collections.This trajectory is the synthesis of a relationship established between a French Art model and the effective reception of artistic practices. Understanding this "matrix" and "uses" that it has been made is what is expected at the end of this study, throwing some light on the choices and practices of the Brazilian theater in their artistic and socio-cultural aspect. (AU)