JEAN-PAUL SARTRE E O TEATRO DE SITUAÇÕES

Abstract

This paper analyzes aspects of the theatre of situations as presented by Jean-Paul Sartre. It differentiate Sartre's dramaturgy from the theater of situations, because the analysis of his theater works requires case-by-case examination, while the aesthetics of theater reaches other authors and contexts. To examine his aesthetic theory, it is necessary to expand the bibliographic sources, analyzing the considerations about the theater throughout his work. We turn to the collection "A theatre of situations" (organized by Michel Contat), which provides a thematic overview. Sartre's aesthetic theory cannot be separated from philosophical concepts and must be seen in an integrated way, at the risk of epistemological damage. Theater must be seen from the perspective of Sartre's philosophical project and his contribution to existentialism. It is a form of engagement and, like other forms of expression (literature, philosophy and literary criticism), it manifests itself as a spokesperson for freedom. Considering Sartre's aesthetic theory of the theater, other concepts will be presented, coming from "Being and Nothingness" (concept of negativity), "The Family Idiot" (concept of universal-singular), "What is literature?" (concept of appeal) and "The Imaginary" (concept of análogon). The end of the essay analyzes the concept of the actor. Theater requires the identification of the spectator with the characters. Like the actor, characterized by the phenomenon of self-denial and identification with the other, the spectator is confronted with the negativity of the human condition.