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Voz é corpo em performance: contributos da semiótica da canção para a atuação cénica para intérpretes de música popular brasileira
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Authors
Abstract(s)
A presente investigação debruça-se sobre a formação cénica de cantores de música popular, explorando a articulação entre os estudos de Valéria L. Braga sobre os Aspectos Indicadores da Atuação Corporal e Cénica do Cantor Popular e a Semiótica da Canção proposta por Luiz Tatit. Partindo de uma inquietação pessoal e profissional, este trabalho procura responder a questões fundamentais sobre a integração dos conhecimentos teatrais na prática vocal, o aprimoramento da expressividade em palco e a construção de uma metodologia específica para a formação cénica de intérpretes da música popular. Para tal, desenvolveu-se uma abordagem prática através da implementação de Laboratórios de Atuação Cénica para Cantores de Música Popular, estruturados em cinco encontros abertos ao público. Estes laboratórios permitiram testar e refinar uma proposta metodológica que considera a canção como matéria-prima da cena, explorando as articulações entre corpo, voz, presença, teatralidade e dramaturgia. Como resultado, foi elaborado um roteiro de análise da canção popular para construção performativa, oferecendo um mapeamento possível para o aprofundamento das camadas expressivas da canção e sua transposição para a cena. Conclui-se que a intersecção entre os referenciais teóricos adotados possibilitou novas formas de abordagem da expressividade cénica, a partir de uma perspetiva integrada e sensível aos elementos estruturais e poéticos da obra musical, contribuindo para preencher lacunas identificadas no ensino profissional da área, particularmente no contexto educacional profissionalizante brasileiro.
This research focuses on the performance training of popular music singers, exploring the articulation between Valéria L. Braga's studies on the Indicative Aspects of Corporal and Scenic Performance of the Popular Singer and the Semiotics of Song proposed by Luiz Tatit. Stemming from personal and professional concerns, this work seeks to answer fundamental questions about the integration of theatrical knowledge in vocal practice, the enhancement of stage expressiveness, and the construction of a specific methodology for the performance training of popular music interpreters. To this end, a practical approach was developed through the implementation of Scenic Acting Laboratories for Popular Music Singers, structured in five meetings open to the public. These laboratories allowed for testing and refining a methodological proposal that considers the song as the raw material of the scene, exploring the articulations between body, voice, presence, theatricality, and dramaturgy. As a result, a script for analyzing popular songs for performative construction was elaborated, offering a possible mapping for deepening the expressive layers of the song and its transposition to the scene. It is concluded that the intersection between the adopted theoretical frameworks enabled new approaches to scenic expressiveness, from an integrated perspective sensitive to the structural and poetic elements of the musical work, contributing to fill in gaps identified in higher education in the field, particularly in the Brazilian vocational educational context.
This research focuses on the performance training of popular music singers, exploring the articulation between Valéria L. Braga's studies on the Indicative Aspects of Corporal and Scenic Performance of the Popular Singer and the Semiotics of Song proposed by Luiz Tatit. Stemming from personal and professional concerns, this work seeks to answer fundamental questions about the integration of theatrical knowledge in vocal practice, the enhancement of stage expressiveness, and the construction of a specific methodology for the performance training of popular music interpreters. To this end, a practical approach was developed through the implementation of Scenic Acting Laboratories for Popular Music Singers, structured in five meetings open to the public. These laboratories allowed for testing and refining a methodological proposal that considers the song as the raw material of the scene, exploring the articulations between body, voice, presence, theatricality, and dramaturgy. As a result, a script for analyzing popular songs for performative construction was elaborated, offering a possible mapping for deepening the expressive layers of the song and its transposition to the scene. It is concluded that the intersection between the adopted theoretical frameworks enabled new approaches to scenic expressiveness, from an integrated perspective sensitive to the structural and poetic elements of the musical work, contributing to fill in gaps identified in higher education in the field, particularly in the Brazilian vocational educational context.
Description
Keywords
Voz em performance Canto popular Atuação cénica Semiótica da canção Expressividade Formação do cantor Voice in performance Popular singing Performance acting Semiotics of song Expressiveness Singer training