Hamilton, três vezes: uma abordagem do gênero dramático a partir de esquemas actanciais e mapeamentos da experiência estética

Abstract

How does theater, as an artistic manifestation that promotes fiction, enable the cognitive and emotional emancipation of the reader/spectator through Aesthetic Experience Mapping? With this question in mind, the aim of this dissertation was to highlight the meta-procedures for selecting and associating meanings based on the mapping of the reader-researcher's aesthetic experience with the play Hamilton: An American Musical (2016). The working hypothesis was that Mapping the Aesthetic Experience allows for cognitive and emotional emancipation insofar as the theatergoer is actively involved in a complex process of selecting and associating meanings raised by the staged narrative, regardless of whether the interaction is with the text or the performance. Taking this dual dimension into account, an overview was made of the perspectives adopted by literature textbooks (Silva, 2018; Moisés, 2012; Hamburger, 2013) in relation to the text representation dichotomy, and the actantial models of drama proposed by Anne Ubersfeld (2013) were considered as a starting point for developing a reading scheme appropriate to the dual nature of theater. In the panorama developed, it was observed that literary studies in general preserve a distancing of theater from its representational context, taking it as literature only when in its textual form. The theoretical foundations of the research were based on the perspectives of Aesthetic Effect Theory and Literary Anthropology, both by Wolfgang Iser (1996a; 1996b; 2013) and supplemented by research by Santos (2009) and Costa (2020a; 2020b). The methodology used was Mapping the Aesthetic Experience (MAPEE), which is based on a metaprocedural analysis of the researcher's reading events in order to make inferences about the effects of meaning and significance. Once the corpus had been analyzed using the aforementioned methodology, the concepts of the Aesthetic Effect Theory were combined with the actantial model, derived from semiotics, under the hypothesis that the character's perspective plays a privileged role in the construction of the theme and horizon structure. At the end of the research, it was concluded that the actantial models, although they work on only one of the levels of the literary text, gain importance in an art such as theater, whose dynamic is centered on the figure of the character. The results corroborate the hypothesis of a comprehensive methodology capable of describing the reader's mental and affective events with a play.