O TEATRO DE XOSÉ LOIS GARCÍA E A TRADIÇÃO LITERÁRIA GALEGA: IDENTIDADE E COMPROMISSO POLÍTICO-SOCIAL

Abstract

This research introduces a critical study on the dramaturgic work set by Xosé Lois Garcia, formed by ten plays. Nine of this, A Proclama (1996), A Feira do Cinco (2009), O Reloxo de Merexildo (2009), Labyrinthus (2010), Mirafentos (2010), A Cerna (2013), O proceso a Lucia Fidalgo (2017), A Conversa de Manuel María e Xohán de Requeixo no Monte Faro (2016), Entre as Neboas do Tempo (2016), Auto do demo e da Viñateira (2017), were written in Galician, and the tenth play, Desguiament De Guiats (2014), was written in Catalan. García is one of the literature and Galician Modern culture representants, and stands out himself with a wide production of poetry, stories, anthologies, journalistic essays, narratives, and theater. Despite important academic research works on his work, there is not until this moment a depth study that contemplates the set of his dramaturgic production, which gives relevance to this research. In this sense, this study has as a goal to make explicit how the political dimension is translated on the plays pointing out the aesthetic treatment given to the characters and the language used, or by the choice of the themes, being each more realistic, representing the social and the others that approach a more mystic tone, carried out of nationalism. The results point that García presents an ideological and political thought, claiming for freedom and knowledge as a freedom tool; criticizing to the indoctrination of the church; representing the people marked by the dictatorship and by the dominant class; and positioning in favor to the social causes, with hard contestation to the dominant order. The research was realized by means of a bibliographical review and critical-analytical analysis of theatrical works, under the perspective of the qualitative research, based on authors such as Brecht (1978), Denis (2002), Torres (2015), Vilavedra (2002), Moura (2009) Candido (2000), Benjamim (2013), and Boal (2013).