RASGOS DE VÉUS, ESPARTILHOS E GRINALDAS: LOUCURAS DRAMÁTICAS E ATOS DELIRANTES EM “VESTIDO DE NOIVA”, DE NELSON RODRIGUES

Abstract

Madness, with all its mythological nuances, dogmatic definitions and pathological classifications, continues to be intrinsic to the human being, since the condition of being “outside of oneself” ends up as a demonstrating of the stability of the subject: one who does not move away from its axis in situations of emotional lack of control sometimes carry an unreliable countenance for social reality. Given what would be of craziness and what would lead someone to a state of madness, this text seeks to understand how these exits from the axis reverberate in Vestido de Noiva {Bride’s dress} (1943), more precisely in Alaíde's reactions and in the space in which she is in, observing how the consequences of attitudes unrelated to her can reverberate in what would be her sanity, and how far it puts her in this condition. To aid the analysis, the historical considerations of Pessotti (1994) and Foucault (2017), as well as the clinical structures provided by psychoanalysis from Freud (1893) and some of his commentators, alongside the reflections of Aristotle (2005) and Luna (2005) about the dramatic acts and literature, were the theoretical contribution of this research, which chose the bibliographic study as the analysis technique. The main debates triggered aim not to find an answer or to see a psychotic structure congruent in the writings of Nelson Rodrigues, but to understand how these structures work in the face of different situations and the most distinct stimuli explained in the play. Therefore, we are not looking for a concrete result, but to understand the path traced to reach the conclusion, regardless of what it may be, which will always be different for each individual who allows themselves to read Vestido de Noiva as a masterpiece.