Teatro mal-assombrado: topoanálise gótica da dramaturgia de Lúcio Cardoso

Abstract

This work studies three dramatic texts by Lúcio Cardoso: O escravo (1943), A corda de prata (1947) e Angélica (1950). Initially, we investigated the writer's relationship with the theater, rescuing the critical reception of the plays analysed. Subsequently, we demonstrate the presence in his literary production with the “Gothic machinery”, an ascending narrative structure of the seminal work of the Gothic fiction O Castelo de Otranto, by Horace Walpole, as well as other 17th century Gothic Productions. Our approach focuses on the female character and her link with vampirism and space - with Gaston Bachelard, Oziris Borges Filho and Pascoal Farinaccio as a critical apparatus for a gothic topanalysis, as well as Brazilian researchers, such as Fernando Monteiro de Barros and others, for propose the afilliation of Cardoso's dramaturgy to Brazilian Gothic.