Existe na musicologia luso-brasileira uma tese de que a música litúrgica composta para celebrações religiosas nas igrejas brasileiras e portuguesas apresenta uma grande interpenetração dos estilos teatral e eclesiástico. Tal fato é interpretado não só como uma necessidade de exibição simbólica do poder monárquico, mas também como um atraso musical por parte dos compositores luso-brasileiros, por não serem mais decorosos na escrita da música sacra. Desta forma, a questão do decoro vem sido revisitada por pesquisas recentes, que já enxergam não uma falta de decoro musical no ambiente litúrgico luso-brasileiro, mas sim uma interpretação errônea do contexto cultural na qual esta música está inserida. O objetivo geral deste trabalho é o de discutir o decoro musical lusófono a partir do estudo da tratadística setecentista dedicada à averiguação do três estilos musicais (teatral, de câmara e eclesiástico), e de um estudo de caso das partes de solo das missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal. Neste estudo, utilizaremos a teoria dos esquemas musicais como forma de averiguação do discurso musical, da capacidade comunicacional dos compositores e, consequentemente, seu decoro. / It exists in Luso-Brazilian musicology a thesis that the liturgical music composed for religious celebrations in Brazilian and Portuguese churches presents a great interpenetration of theatrical and ecclesiastical styles. This fact is interpreted not only as a need for symbolic display of monarchical power, but also as a \"musical backwardness\" of the Luso-Brazilian composers, for not being more decorous in writing sacred music. Thus, the question of decorum has been revisited by recent research, which denies the existence of a \"lack\" of musical decorum in the Luso-Brazilian liturgical settings, and sees the problem as a misinterpretation of the cultural context in which this music is inserted. The aim of this study is to discuss the Lusophone musical decorum from the study of eighteenth-century treatises dedicated to the investigation of the three musical styles (theater, chamber and church), and a case study of the solo parts in the Requiem Masses of José Maurício Nunes Garcia and Marcos Portugal. In this study, we use the theory of musical schema as a way of investigating the musical discourse, the communicative capacity of composers and consequently their decorum.

Orientadores: Paulo Mugayar Kühl, Adriana Giarola Kayama / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:46:15Z (GMT). No. of bitstreams: 1 BittarFilho_Nazir_D.pdf: 3998633 bytes, checksum: 510aaf5ed5b303e1f97116af9118604b (MD5) Previous issue date: 2012 / Resumo: Yerma, ópera em três atos de Heitor Villa-Lobos, foi composta na última fase do compositor como resultado de uma encomenda vinda dos Estados Unidos, que tinha como objetivo a musicalização da obra teatral de mesmo nome do poeta espanhol Federico Garcia Lorca. Terminada em 1955, teve sua première mundial somente em 1971, no Santa Fé Opera House, e, no Brasil, apenas em 1983, no Teatro Municipal do Rio de Janeiro. Yerma possui vários aspectos inovadores e certamente a característica mais interessante da ópera é o fato de ela ter sido integralmente musicada por Villa-Lobos, sem adaptações ou cortes expressivos e sem o uso de um libretista, o que a torna um exemplo único na literatura operística no Brasil e quiçá um dos poucos exemplos concebidos desta forma no mundo. Yerma pode ser classificada, segundo suas características composicionais, em uma categoria nos dos estudos da ópera chamada Literaturoper. O presente estudo, além de apresentar as questões do libreto e mostrar como a ópera se enquadra nestes aspectos, busca elencar facetas inovadoras musicais de Villa-Lobos ao conceber esta ópera à luz de postulados dos Estudos Literários e da Literaturoper. As montagens realizadas até o presente momento são analisadas e entrevistas são confrontadas a hipóteses levantadas em relação às providências musicais de Villa-Lobos na composição da ópera / Abstract: Yerma, opera in three acts by Villa-Lobos, was written during the composer's last phase as a result of a commission originated in the United States which aimed at the musicalization of the homonymous play by Spanish poet Federico Garcia Lorca. Finished in 1955, its world premiere only took place in 1971 at the Santa Fé Opera House, and in Brazil at the Teatro Municipal do Rio de Janeiro in 1983. Yerma presents several innovative aspects and certainly its most interesting feature is the fact that it was thoroughly musicalized by Villa- Lobos, without any adaptations or cuts, and without using a librettist, which makes the opera a unique example in the operatic literature of Brazil and perhaps one of the few ones conceived in this way in the whole world. Yerma may be classified, according to its composing features, within a category of operatic studies known as Literaturoper. The present study, besides presenting the libretto's questions and how the opera may fit these aspects, aims at showing Villa Lobos's innovative musical issues on conceiving this opera in the light of the postulates of Literary Studies and of Literaturoper. The performances which have been put on so far are also analyzed and interviews either confirm or deny hypotheses raised in connection with the musical choices taken by Villa-Lobos on writing the opera / Doutorado / Fundamentos Teoricos / Doutor em Música

Entre le début des années cinquante et la fin des années soixante, nombre de réalisations symptomatiques des nouveaux cinémas latino-américains se trouvent influencées par le néoréalisme italien. Le cinéma cubain est généralement associé à ce phénomène, et les relations privilégiées entretenues avec le scénariste italien Cesare Zavattini participent pour beaucoup à confirmer cet état de fait. Pourtant, après 1959, de multiples contradictions viennent remettre en question cette filiation néoréaliste supposée et maintes fois réaffirmée. L’étude menée cherche ainsi à reconsidérer l’allégation de départ et à mesurer l’impact de la Révolution cubaine sur cette interrelation cinématographique / From the early fifties to the late sixties, a certain number of films, representing the new paths of latin-american cinema, were influenced by the italian neo-realism. Cuban cinema is usually perceived as a part of this phenomenon and, mainlyamongst other things, the privileged relations with the italian screenwriter Cesare Zavattini tend to confirm this statement. However, after 1959, many contradictions rise up and lead to question this so-called filiation, still many times re-affirmed. It is the aim of the present study to question the former statement and measure the impact of the Cuban Revolution on this cinematographic inter-relation

Alan Garcia, l’actuel président du Pérou, est un des politiciens les plus controversés dans l’histoire péruvienne. Le succès de sa carrière comme candidat est fort opposé aux résultats catastrophiques de sa première gestion présidentielle. Dans la culture populaire, les compétences discursives de Garcia, ainsi que le contraste entre son succès et ses pauvres performances en tant que président, l’ont élevé au rang de mythe. Ce travail de recherche présente une analyse pragmatique linguistique des stratégies discursives utilisées par le président Garcia dans son deuxième mandat (2001-2006). L’analyse sera centrée sur le rapport établi par Steven Pinker (2007) entre politesse positive et solidarité communale. Les travaux de Brown et Levinson (1978, 1987) et d’Alan Fiske (1991) sont notre base théorique. L’exclusion sociale d’une partie de la population électorale péruvienne, selon le point de vue de Vergara (2007), est l’élément clé pour mieux comprendre le succès de la stratégie discursive de Garcia. Vegara présente une analyse diachronique multi-variable de la situation politique péruvienne pour expliquer la rationalité de la population électorale péruvienne. À partir de cet encadrement théorique, nous procéderons à l’analyse lexicométrique qui nous permettra d’identifier les stratégies discursives utilisées dans le corpus des discours de Garcia qui a été choisi pour l’analyse. D’après le schéma de Pinker, les données obtenues seront classifiées selon la définition de politesse positive de Brown et Levinson. Finalement, nous évaluerons le rapport entre les résultats classifiés et le modèle de solidarité communale de Fiske. L’objectif est de démontrer que le style discursif de Garcia est structuré à partir d’une rationalité dont l’objet est de fermer la brèche sociale entre le politicien et l’électorat. / Peruvian President Alan Garcia is one of the most controversial politicians in Peruvian history. His successful career as a presidential candidate is opposed to the catastrophic results of his first presidential government. Garcia’s discursive skills and the high contrast between his political success and his poor performance as a president have become a myth in Peruvian popular culture.. In this work we will present a pragmatic-linguistic analysis of the discursive strategies used by Garcia in his second administration (2006-2011). The analysis will be focused on the relationship established by Steven Pinker (2007) between Positive Politeness and Communal Sharing. The works of Brown and Levinson (1978, 1987) and Alan Fiske (1991) will be our theoretical groundwork. Social exclusion in Peruvian electoral population, as explained by Vergara (2007), is the key factor to understand the success of Garcia’s discursive strategy. In his work, Vergara presents a diachronic multi-variable analysis of the Peruvian political situation that explains the rationality behind Peruvian elector’s decisions. Once established the referential political framework, we will proceed with the lexicometric analysis that will help us to identify the discursive strategies used in a previously selected sample of Garcia’s public discourses. In order to match Pinker’s scheme, we will classify these findings according to the positive politeness categorization of Brown and Levinson. Finally, we will associate these results to the Communal Sharing model of social relationship, as defined by Fiske. Our goal is to demonstrate that Garcia’s discursive style is rationally structured to reduce the social gap between the Politician and the Elector.

Orientadores: Helena Jank, Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T10:55:53Z (GMT). No. of bitstreams: 1 Almeida_AdrianaXavierde_M.pdf: 6443287 bytes, checksum: cf2907566cbdc2fc6ba171ba7d300bb9 (MD5) Previous issue date: 2014 / Resumo: Este trabalho considera aspectos históricos e estéticos do bel canto e seu aculturamento no Brasil como recurso interpretativo na ornamentação e improvisação em modinhas luso-brasileiras. Foram observadas as práticas musicais no Rio de Janeiro durante a presença da Família Real e as influências europeias trazidas pela corte portuguesa e seus músicos, com ênfase na presença dos castrati. A partir de fontes primárias e secundárias, tratados e documentação escrita de época e posterior, propõe-se a realização de três modinhas: Beijo a mão que me condena de Padre José Maurício Nunes Garcia (1767-1830), Quem sabe?!... de Antônio Carlos Gomes (1836-1896) e estilísticos observados em cada uma delas / Abstract: This work considers historical and aesthetic aspects of bel canto and its acculturation in Brazilian as an performance resource for ornamentation and improvisation Luso-Brazilian modinhas. Musical practices in Rio de Janeiro during the presence of the Royal Family and European influences brought by the Portuguese court and his musicians, with emphasis on the presence of the castrati were observed. From primary and secondary sources, treatises and material of the time and later, it is proposed to realize three modinhas: Padre José Maurício Nunes Garcia¿s (1767-1830) Beijo a mão que me condena, Quem sabe?!..., Antônio Carlos Gomes¿ (1836-1896) and Emílio E. C. do Lago¿s (1837-1871) Último adeus de amor, according to technical and stylistic elements observed in each one / Mestrado / Praticas Interpretativas / Mestra em Música

Existe na musicologia luso-brasileira uma tese de que a música litúrgica composta para celebrações religiosas nas igrejas brasileiras e portuguesas apresenta uma grande interpenetração dos estilos teatral e eclesiástico. Tal fato é interpretado não só como uma necessidade de exibição simbólica do poder monárquico, mas também como um atraso musical por parte dos compositores luso-brasileiros, por não serem mais decorosos na escrita da música sacra. Desta forma, a questão do decoro vem sido revisitada por pesquisas recentes, que já enxergam não uma falta de decoro musical no ambiente litúrgico luso-brasileiro, mas sim uma interpretação errônea do contexto cultural na qual esta música está inserida. O objetivo geral deste trabalho é o de discutir o decoro musical lusófono a partir do estudo da tratadística setecentista dedicada à averiguação do três estilos musicais (teatral, de câmara e eclesiástico), e de um estudo de caso das partes de solo das missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal. Neste estudo, utilizaremos a teoria dos esquemas musicais como forma de averiguação do discurso musical, da capacidade comunicacional dos compositores e, consequentemente, seu decoro. / It exists in Luso-Brazilian musicology a thesis that the liturgical music composed for religious celebrations in Brazilian and Portuguese churches presents a great interpenetration of theatrical and ecclesiastical styles. This fact is interpreted not only as a need for symbolic display of monarchical power, but also as a \"musical backwardness\" of the Luso-Brazilian composers, for not being more decorous in writing sacred music. Thus, the question of decorum has been revisited by recent research, which denies the existence of a \"lack\" of musical decorum in the Luso-Brazilian liturgical settings, and sees the problem as a misinterpretation of the cultural context in which this music is inserted. The aim of this study is to discuss the Lusophone musical decorum from the study of eighteenth-century treatises dedicated to the investigation of the three musical styles (theater, chamber and church), and a case study of the solo parts in the Requiem Masses of José Maurício Nunes Garcia and Marcos Portugal. In this study, we use the theory of musical schema as a way of investigating the musical discourse, the communicative capacity of composers and consequently their decorum.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-05T12:38:55Z No. of bitstreams: 1 Amanda Marques Pinto.pdf: 12537262 bytes, checksum: 75d32add939375a3e8c512afcbff3d0e (MD5) / Made available in DSpace on 2018-07-05T12:38:55Z (GMT). No. of bitstreams: 1 Amanda Marques Pinto.pdf: 12537262 bytes, checksum: 75d32add939375a3e8c512afcbff3d0e (MD5) Previous issue date: 2018-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main theme in this master’s thesis is the way a body communicates in situation of extreme vulnerability. For that purpose, it departs from the analysis of Paula Garcia’s performance “Corpo Ruindo” – “Noise Body”1 – presented at SESC Pompeia during the period of March 10th to May 10th, 2015. Firstly, aspects of this artist’s creation process are presented, aiming at discussing her changes of concept of body in relation to different environments and objects. We depart from the contact of body versus magnet versus iron – body x magnet x iron – proposed throughout the performance and in the studies of noise these objects provoke. To broaden this discussion, concepts on the works of John Cage and Nam Jun Paik are also studied. Garcia’s own research, which represents a testimony of the concept of the body ready to become and transforming itself into ruins, is presented as part of our theoretical foundation. The historical context elaborated by writers such as Amelia Jones (2012) and Roselee Goldberg (2015) is helpful when we think of issues related to performance as an artistic language, which represents the specific circuit where Garcia is. Theories of performativity, vulnerability, collectivity, as well as gender and feminism issues proposed by Judith Butler (1999; 2003; 2006; 2016; 2017) are used both to question the female body during the performance and out of it. Besides that, the discussions on the human figure by Eliane Moraes (2012) and the cyborg theory by Donna Haraway are cited. The bodymedia theory, by Christine Greiner and Helena Katz (2005, 2015) underpins the research base on the vulnerable body that constitutes itself in relationship with the environment. We expect, with his research, to collaborate with a study field in development in Brazil, with contributions by both researchers and artists, proposing singular considerations about the communication of the body in its various states / O tema desta dissertação de mestrado é o modo como um corpo comunica em situação de vulnerabilidade extrema. Para tanto, parte da análise da performance “Corpo Ruindo” de Paula Garcia que aconteceu no SESC Pompéia no período de 10 de março à 10 de maio de 2015. Em um primeiro momento, são apresentados aspectos do processo de criação desta artista tendo como objetivo discutir as suas mudanças de concepção de corpo na relação com diferentes ambientes e objetos. Partiremos do contato entre corpo x imã x ferro proposto ao longo da performance e dos estudos do ruído que esses objetos provocam. Para ampliar o debate serão estudados conceitos da obra de John Cage e Nam June Paik. Como parte da fundamentação teórica, apresenta-se também a pesquisa da própria artista que representa um testemunho da concepção deste corpo prestes e a se transformar em ruínas. O contexto histórico elaborado por autoras como Amelia Jones (2012) e Roselee Goldberg (2015) ajuda a pensar nas questões da performance como linguagem artística, que representa o circuito específico em que Garcia está inserida. As teorias da performatividade, da vulnerabilidade e da coletividade, bem como as questões de gênero e feminismo proposta por Judith Butler (1999; 2003; 2006; 2016; 2017) são utilizadas para problematizar o corpo feminino no ato da performance e também fora dela. Além disso, são citadas pontualmente as discussões sobre a figura humana de Eliane Moraes (2012) e a Teoria Ciborgue de Donna Haraway (2009). A teoria Corpomídia de Christine Greiner e Helena Katz (2005, 2015) fundamenta a pesquisa sobre corpo vulnerável que se constitui na relação com o ambiente. O resultado esperado é colaborar com um campo de estudos que vem sendo trabalhado por pesquisadores e artistas de diversas regiões do Brasil e que propõe reflexões singulares acerca da comunicação do corpo em seus diversos estados

Review of Caleb Beissert: Federico Garcia Lorca & Pablo Neruda: Beautiful, Translations from the Spanish

Thesis (Ph. D.)--University of Hawaii at Manoa, 2001. / Includes bibliographical references (leaves 298-319). Also available on microfiche.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.