Farsa da Boa Preguiça - download pdf or read online
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 dwelling playwrights. he's additionally a big neighborhood author doing numerous novels set within the Northeast of Brazil. He bought 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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Additional resources for Farsa da Boa Preguiça
The fact that doctors trained in scholastic medicine were helpless in the face of the plague undermined their authority and helped to pave the way for change: all sorts of practitioners sold remedies, and in order to compete, physicians began to incorporate these things—including alchemy and magic—into their practice. They also stepped up efforts to control such nonacademic practitioners as midwives, surgeons, and apothecaries. 60 One might be tempted here to move from this notion of the plague experience as a positive force for change into a metaphorical conflation of plague and theatre, in the manner of Artaud, which slides all too easily into a stereotype of plague everywhere and always, witch trials, trial by ordeal, the Inquisition, boiling oil.
49 He then switches from prayer to direct address (“Cy die au peuple”), ensuring that the audience understands the lesson: “Good folk, don’t be sad if you see me tormented because through earthly pain comes eternal gladness. 50 After a brief interlude during which the saints are clapped in irons and thrown into prison, the flagellation resumes. 51 This beating continues for thirty lines, after which Denis is placed on a grill over a bed of fire (663–88), thrown to savage beasts that haven’t eaten for a week (689–714), put into a hot furnace (718–49), and finally crucified (750–95).
Luc Boltanski argues that encountering suffering face-to-face obligates one to provide reasonable assistance; that is, an action to alleviate suffering that does not put one at risk. Only those with specialized roles, such as firefighters and police, must risk their lives in order to save others. For anyone else, one’s relationship to the sufferer delineates one’s level of obligation. One would be expected to save one’s child, for example, or perhaps even one’s neighbor. 20 Distance introduces additional ethical precepts.
Farsa da Boa Preguiça by Ariano Suassuna