“[Auto da Compadecida] constrói-se a partir dos textos múltiplos que ... se mesclam.” (Santos: 1999, 265). Here Santos has described one of the defining characteristics of the text. Perhaps this mix of elements is a contributing factor to Sussasuna’s universal popularity – the undeniably comedic elements, except those relevant only to a Northeast Brazilian audience, are certainly entertaining in any language. Maybe the ‘serious message’, which could indeed reasonably be said to form the ‘heart of the play’, is as well so universal in nature that it addresses any audience. In order to access this message, however, the audience must at first be entertained and subtly educated. I would argue that the comic elements, though obvious, are integral to this process, rather than existing as an inferior technique ‘despite’ which the moral can be communicated.
Table of Contents
Objectives and Topics
The research paper examines the relationship between comedic elements and the underlying serious moral and social messages in Ariano Suassuna's play "Auto da Compadecida". It explores whether the play's humor serves merely as entertainment or if it is an integral component of the author's didactic and satirical intent to address social inequality and religious hypocrisy in 20th-century Brazil.
- Analysis of the interplay between comic farcical elements and serious narrative themes.
- Examination of the role of social and political commentary through the lens of the "Armorial Movement".
- Investigation of dramatic irony and the use of satire directed at the clergy.
- Evaluation of the "judgement scene" as the central moral pivot of the work.
Excerpt from the Book
5. Despite the outwardly/obvious comic elements of the play, at the heart of “Auto da Compadecida” there remains a deeply serious message.
“[Auto da Compadecida] constrói-se a partir dos textos múltiplos que ... se mesclam.” (Santos: 1999, 265). Here Santos has described one of the defining characteristics of the text. Perhaps this mix of elements is a contributing factor to Sussasuna’s universal popularity – the undeniably comedic elements, except those relevant only to a Northeast Brazilian audience, are certainly entertaining in any language. Maybe the ‘serious message’, which could indeed reasonably be said to form the ‘heart of the play’, is as well so universal in nature that it addresses any audience. In order to access this message, however, the audience must at first be entertained and subtly educated. I would argue that the comic elements, though obvious, are integral to this process, rather than existing as an inferior technique ‘despite’ which the moral can be communicated.
Tales for children are made entertaining to enable them to instruct. There are many side stories in Auto da Compadecida which act as humorous interludes, some of which have moral purpose themselves, or which merely complement the main narrative. In one such instance, the poor boy Chicó, tells of a fish that once dragged him up the Amazon for three days and three nights. (Susassuna: 1955, Act 1). By this point in the play, Chicó is known to be a teller of tall tales and he is the centre of many humorous scenes, with the poor but quick-witted João Grilho adding a sarcastic comment or two each time.
Summary of Chapters
5. Despite the outwardly/obvious comic elements of the play, at the heart of “Auto da Compadecida” there remains a deeply serious message: This chapter analyzes how comedic sequences and farce are not merely decorative, but serve to amplify the play's serious moral and social critique, ultimately arguing that the humor and the message are intrinsically linked.
Keywords
Auto da Compadecida, Ariano Suassuna, Armorial Movement, Brazilian theatre, satire, comedy, farce, morality, social classes, salvation, religious critique, judgement scene, dramatic irony, Northeast Brazil, folklore.
Frequently Asked Questions
What is the primary subject of this academic paper?
The paper focuses on the duality of Ariano Suassuna’s "Auto da Compadecida," investigating how the play balances broad comedic and farcical elements with a profound, underlying serious moral message.
What are the central themes of the work?
The central themes include social stratification in 20th-century Brazil, the corruption of the clergy, the power of compassion, the role of Christian ethics, and the use of popular folklore in theatre.
What is the primary research goal?
The research aims to determine whether the comedic elements of the play are just a tool to attract audiences or if they are essential for communicating the author's serious didactic objectives.
What methodology is employed?
The paper utilizes a literary analysis approach, drawing on stage directions, scholarly criticism (such as Ratcliff and Lappin), and comparative theory (referencing Aristotle’s Poetics) to evaluate the text's structure and purpose.
What is treated in the main body of the paper?
The body analyzes specific scenes, such as Chicó's tall tales and the priestly encounter with Antonio Morais, to illustrate how humor creates dramatic irony and exposes moral failings.
Which keywords characterize the work?
Key terms include "Auto da Compadecida," "satire," "Armorial Movement," "social critique," and "Christian salvation."
How does the author view the "judgement scene"?
The author considers the final act—the judgement scene—to be the pivot point of the play where the various narrative threads and character moralities are resolved, confirming the play's serious intent.
How does Suassuna treat the clergy in the play?
Suassuna utilizes satire to ridicule the corrupt members of the clergy, highlighting their hypocrisy and fear in the face of death, while ultimately seeking their correction and salvation.
- Quote paper
- Laura Smith (Author), 2013, About the Serious Message of the Play "Auto da Compadecida", Munich, GRIN Verlag, https://www.grin.com/document/295716
