Abstract:

This study of theatrical performance in Portuguese America examines the prevalence of Black and African descendant performers onstage, whether enslaved or free. On the one hand, I consider the artistic implications of these performers' prominence in terms of how their performances fused European theatrical elements, for instance, with plays being staged in opera houses and featuring works by Pietro Metastasio and Carlo Goldoni. Other engagements with the European tradition suggest Spanish influences, such as performances of comedias and comic farces (entremezes). On the other hand, we find Afro-diasporic performance practices on the Portuguese American stage. Additionally, I address methodological challenges: How can this kind of theatricality be analyzed? Is it possible to reconstitute such scenes of Black performance and analyze acting methods, notwithstanding the scarce documentation? Finally, must we interrogate the connections between social organization in colonial Brazil's slave-holding society and forms of artistic expression. Sources mobilized for these queries include travelers' descriptions of performances, documents found in archival sources, and firsthand accounts of fêtes.

 抽象的：

这项对葡属美洲戏剧表演的研究考察了黑人和非洲后裔表演者在舞台上的流行程度，无论是被奴役的还是自由的。一方面，我考虑这些表演者的突出表现的艺术含义，即他们的表演如何融合欧洲戏剧元素，例如，在歌剧院上演戏剧并以彼得罗·梅塔斯塔西奥和卡洛·戈尔多尼的作品为特色。其他与欧洲传统的接触表明西班牙的影响，例如喜剧和滑稽闹剧（entremezes）的表演。另一方面，我们在葡裔美国人的舞台上发现了非洲裔侨民的表演实践。此外，我还解决了方法论上的挑战：如何分析这种戏剧性？尽管文献资料稀缺，是否有可能重建黑人表演的此类场景并分析表演方法？最后，我们必须审视巴西殖民地奴隶制社会的社会组织与艺术表现形式之间的联系。这些查询的来源包括旅行者对表演的描述、档案来源中找到的文件以及节日的第一手资料。