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By Ariano Suassuna

About the writer (from Goodreads):

Ariano Suassuna (born João Pessoa, 1927) is a Brazilian playwright and writer. he's within the "Movemento Amorial". He based the scholar Theater at Federal college of Pernambuco. 4 of his performs were filmed and he's one among Brazil's maximum residing playwrights. he's additionally an immense nearby author doing a variety of novels set within the Northeast of Brazil. He obtained an honorary doctorate at a rite played at a circus. he's the writer of, between different works, the "Auto da Compadecida" and "A Pedra do Reino". he's a staunch defender of the tradition of the Northeast, and his works take care of the preferred tradition of the Northeast.

Sobre o livro:

A obra conta a trajetória do poeta e cantador Joaquim Simão e de sua mulher Nevinha, ambos à mercê de pessoas inescrupulosas, santos e demônios. São muitas as tentações e pecados que assolam o casal. Joaquim Simão sofre de três fraquezas: preguiça, poesia e mulher. Sua esposa tenta, em vão, convencer seu marido a trabalhar. Para desestruturar ainda mais a relação, Aderaldo tenta conquistar Nevinha. Já Joaquim Simão é assediado por Clarabela. A história é narrada e comentada por três santos: Manuel Carpinteiro, São Pedro e São Miguel.

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Extra resources for Farsa da Boa Preguiça

Example text

By 1940 nearly a third of available air time went to drama (10,000 hours). The normal procedure was for networks to sell time to advertising agencies which produced shows for the sponsors. ’ His first broadcast play was Joe, the Motorman, a work about a rebellious subway driver first transmitted on the Rudy Vallee Show. The radio, Miller recalled, ‘was purely commercial though there was Norman Cowan’s programme on CBS. And he had this Whitmanesque style of chest-beating lyricism, but they were very effective plays.

It is an epic work, suffused with poetry and far removed from the personal life on which he had previously drawn. It is a play whose images are striking, whose language is elevated and whose characters are, to some degree, stylised, being self-conscious performers. It is a play of ritual and ceremony which requires a carefully choreographed staging. Where earlier, like Odets’s and many Federal Theatre plays, he had imported into his work something of the energy of the contemporary, now he turned back to the early sixteenth century.

For his part, Miller himself had to prove that he was living elsewhere and accordingly persuaded a friend to set aside a room where he was alleged to be living. By good fortune he happened to be there when an inspector came by. The subterfuge worked and he joined the Theatre. It was a brief appointment in that in 1939 Congress closed it down for alleged (and actual) communist influence, though in fact because of its predilection for staging plays about contemporary events in which Congressmen rarely came out well.

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