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21 Eça de Queirôs, Jose Maria
(1845-1900)Nineteenth-century Portugal's greatest novelist and essayist, the author of modern classics in the form of satirical novels that are still popular and considered to be relevant to contemporary concerns in Portugal. Next to Luís de Camões and Fernando Pessoa, Eça de Queirós is the most studied, discussed, and written about Portuguese writer in modern times. He was a student at Coimbra University and a distinguished member of the so-called Generation of 1870, which challenged both the academic establishment and the governing elite of its day. This brilliant, prolific novelist and essayist spent much of his post-university life abroad in Portugal's foreign and consular service. His largely realist novels portrayed Portuguese society of 1870-1900 with wit, satire, humor, and wisdom. He died in Paris in 1900, leaving behind a large body of novels and essays, published and unpublished.Historical dictionary of Portugal > Eça de Queirôs, Jose Maria
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22 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today. -
23 Santos, José Manuel Cerqueira Afonso
(1929-1987)Balladeer, singer, poet, musician, composer, and teacher. Known to the public simply as "Zeca" or "José Afonso," he was a student poet, singer, and musician in the 1950s, and premier interpreter of Coimbra fado, creator of a new school of fado music, and leader of a reform movement in popular music. Using his distinctive musical compositions, appealing baritone singing voice, and iconoclastic lyrics of resistance to tyranny, Afonso Santos employed his poetic and musical gifts as instruments of resistance and opposition to the enduring Estado Novo. Two recorded songs became early shots in this war: Balada de Outono (Autumn's Ballad) and Menino d'Oiro (Golden Boy). With diverse, subversive meanings usually disguised in allegory, his lyrics and style eschewed the traditional Coimbra fado's fare of broad sentiment and unrequited love. Instead, Afonso presented new ballads with contemporary resonance. In the mid-1960s, when so many Portuguese youth were drafted and mobilized for Portugal's colonial wars in Africa, he lived and taught school in Mozambique, where he organized opposition to the regime. Later in that colony, he was arrested by the PIDE.After his return to Portugal, Afonso's reputation as a rebel ballad-eer grew; among his most celebrated recorded ballads were Cantigas de Maio (Songs of May, 1971) and Venham Mais Cinco (Five More Came, 1973). His famous revolutionary, rallying song, Grândola, Vila Morena, banned by the Estado Novo before 1974, became the single most famous piece of Portuguese revolutionary music in the second half of the 20th century. Grândola featured Afonso's voice and lyrics and expressed a clearly leftist ideology and resistance to tyranny, to the background sounds of marching feet growing louder. Selected by the coup planners of the Armed Forces Movement as a signal for action, a secret password sign to be played over Lisbon radio at about midnight on 24/25 April 1974, this remarkable song acquired new fame and a place in history as both an actual signal for rebel military operations to begin and an enduring revolutionary rallying cry. After the Revolution of 25 April 1974, Grândola became the most potent symbol of the move to topple the Estado Novo and open the way for profound change, as well as a musical icon, equaled only by the iconographic red carnation. The first stanza of Afonso's lyrics, translated from the Portuguese, is: Grândola, dark-brown town, Homeland of Brotherhood The people have more power within you, oh city....Historical dictionary of Portugal > Santos, José Manuel Cerqueira Afonso
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24 Vicente, Gil
(ca. 1465-ca. 1537)Sixteenth-century Portuguese playwright, perhaps Portugal's greatest, who was also a talented goldsmith, musician, actor, and dramatist. Born in humble circumstances, Gil Vicente rose to become an important figure, recognized and celebrated in the royal court of his day. His first play or auto was performed in 1502, and his last piece was produced in 1536. Vicente's work was influenced not only by the religious plays of late medieval Portugal, but by work from contemporary humanism and the Renaissance.There were at least four basic aspects of Vicentine plays: dramatization of rural folklore, social satire, imaginative analysis of nature, and religious themes. What was remarkable about Vicente, in addition to his great versatility (he was the goldsmith who produced the gold monstrance in the Monastery of Jerônimos) and brilliance, was that he was popular with both the people and the elite, and was a masterful dramatist in a country lacking extraordinary dramatic traditions. Some of his plays were censored by the Inquisition after his death, and it was only during the 19th-century romantic era that Portuguese writers sought a revival of his reputation.
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