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Made available in DSpace on 2020-06-08T19:26:16Z (GMT). No. of bitstreams: 1 2012 - Fl?via Ribeiro Veras.pdf: 1496036 bytes, checksum: ab849ce73d09a7f0ccc1083cd0711654 (MD5) Previous issue date: 2012-08-20

Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior, CAPES, Brasil.

This work aims to study the transformation of the body of artists from Rio de Janeiro in a labor category. The time limits established for this study are 1918, year in which the House of Artists was founded and 1945, last date of publication of the statute of the Artists Union produced during the Vargas government. Thinking about the professionalization of artists and their labor organization has a lot to do with the process of industrialization and growth of the entertainment industry in the city, that deepened the differences between the worker-artist and artist-entrepreneur (who was an artist as well as the owner of the company). It is very important for the construction of this work to reflect on the building up of the Union that represented the category and its links with the government. Another important point is the category description. In a quantitative analysis, it was possible to trace the profile of the artists who worked in Rio de Janeiro, according to race, gender, marital status and education, as well as their workspaces (theatrical companies, circuses, theaters and radios); and the categories in which the profession of artist was subdivided (dancers, actors, dancers, singers, circus etc.) Therefore, it became possible to conclude, through the intersection of information, that some specialties were most prestigious and offered greater job security than others.

Este trabalho tem o intuito de estudar a transforma??o do corpo de artistas do Rio de Janeiro em uma categoria trabalhista. O corte temporal estabelecido para essa pesquisa ? 1918, dada de funda??o da Casa dos Artistas e 1945, data da publica??o do ?ltimo estatuto do Sindicato dos Artistas produzido durante o governo Vargas. Pensar a profissionaliza??o dos artistas e sua organiza??o trabalhista tem muito a ver com o processo de industrializa??o e com o incremento da ind?stria das divers?es na cidade que aprofundou as diferen?as entre o trabalhador-artista e o artista-empres?rio (que, al?m de artista, era o dono da companhia). ? muito importante, para a constru??o desse trabalho, refletir sobre a montagem do Sindicato da categoria e suas liga??es com o poder p?blico. Outro ponto importante foi a descri??o da categoria. Em uma an?lise quantitativa, foi poss?vel tra?ar o perfil dos artistas que atuavam no Rio de Janeiro, em termos de ra?a, g?nero, estado civil e escolaridade, bem como os espa?os de trabalho: companhias teatrais, circos, cinemas e r?dios e as diversas categorias que em que se subdivida a profiss?o de artista: bailarinas, atores, dan?arinas, cantores, circenses etc. Foi poss?vel perceber, atrav?s do cruzamento de informa??es, que algumas especializa??es eram mais prestigiadas e ofereciam maior seguran?a no emprego do que outras.