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- W2321849829 abstract "Brazilian cultural identity is complex because our nationality doesn't depend on ourselves. We are a people with an indigenous culture that was overcome by the conquistadores who imposed both negative and positive values on us. No Latin American peoples-not even the Incas or Aztecs, who before the discovery had developed high levels of social organization and cultural production-managed to protect their values against the arms, the violence, and the ideologies of the European invaders. Since then, there have been a succession of dominations. We are a people who were quickly dominated, first by imperialism, then by capitalism, which together destroyed our cultural integrity. Our current cultural identity must not be a return to an idealized past, a nostalgic digging for lost roots. It is an urgent and unstoppable affirmation of values and ideas defining an objective national sovereignty that is necessarily dynamic and pluralistic. This self-affirmation demands a revolutionary liberation, the making of a fairer society, free from exploitation or cultural and artistic dependence. This being said, it is true that a developing country cannot do without ideas and creative stimuli from abroad. Permanent assimilation-a dialectic movement that Oswald de Andrade termed antropofagiadevouring what comes from abroad, digesting what's worth keeping, vomiting the rest-is both unavoidable and necessary. Brazilian problems can't be solved in isolation. What is required is a critically conscious assimilation. If the desire to reject influences from abroad persisted, it would represent a false concept of purity rooted in conservatism or fear (the same thing). National characteristics are not abstract in theatre because theatre is in dialog with the social changes it continuously modifies. To keep theatre forms from the past may be useful as a way of preserving a cultural heritage, but a theatre that limits itself to preservation misses participating in the dynamic transformation of society. The Brazilian theatre grew out of a dialectic between its own values and those brought in by colonizers and invaders. The Portuguese armed with weapons and the cross discovered us-our theatre owes its origins to efforts made by Jesuits to incorporate indigenous rituals into Iberian medieval auto sacramentale. The passage from religious to secular theatre was due to our imitation of the Portuguese, Spanish, and even French theatres." @default.
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- W2321849829 date "1990-01-01" @default.
- W2321849829 modified "2023-10-10" @default.
- W2321849829 title "Brazilian Theatre and National Identity" @default.
- W2321849829 doi "https://doi.org/10.2307/1146006" @default.
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