Mardi Gras: carnaval americano na visão de um brasileiro

Góes, Fred

doi:10.1590/s1517-106x2005000200009

Alea

2005

DOI: 10.1590/s1517-106x2005000200009

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Mardi Gras: carnaval americano na visão de um brasileiro

Fred Góes

Abstract: O presente artigo resume os aspectos principais da pesquisa sobre o Mardi Gras de Nova Orleans, desenvolvida entre os anos de 2003 e 2004 junto à Universidade de Tulane, com destaque para o fato de haver duas formas distintas de expressão carnavalesca na cidade: a branca "oficial" e a negra "não-oficial".

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The New Orleans Carnival as a Theater Space: A Patrimonial Landscape in the Understanding of Translatinity

Oliveira¹

2019

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The present study represents an attempt to read the patrimonial landscape composed by the sacred-profane festivities of the New Orleans Carnival, known as Mardi Gras. It uses a methodology of comparative observation and qualitative analytical procedures to link the theatricality of the city to the performance of Afro-descended groups (the "Indians"), the aesthetics of their self-presentation and their engagement in cultural resistance. To do so, the study projects inequalities and cultural shocks with reference to the play A Streetcar Named Desire, by Tennessee Williams. The main purpose is to elaborate a concept of a theater space where it is possible to develop modes of interpretation of the Latin American culture, that is, a "translatinity" a political and social overflow of African and Amerindian values, especially from the second half of the 20th century, in the culturally polarized cities of the American continent.

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The New Orleans Carnival as a Theater Space: A Patrimonial Landscape in the Understanding of Translatinity

Oliveira¹

2019

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Mardi Gras: carnaval americano na visão de um brasileiro

Cited by 1 publication

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The New Orleans Carnival as a Theater Space: A Patrimonial Landscape in the Understanding of Translatinity

The New Orleans Carnival as a Theater Space: A Patrimonial Landscape in the Understanding of Translatinity

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