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De ‘voz castiça’ a ‘voz de Portugal’ A construção da voz de Amália Rodrigues (1939-1949)
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Orientador(es)
Resumo(s)
Esta tese aborda a construção da voz de Amália Rodrigues como referente sonoro
de Portugal e como materialização acústica de ideias, conceitos, emoções e sentimentos
de pertença, conceções de classe socioeconómica, educação, género, ‘raça’, entre outras.
Como se construíram, reconfiguraram e ressignificaram estas e outras ideias sobre a voz
de Amália Rodrigues e o que revelam acerca dos contextos socioculturais em que foram
produzidas? Porque se destacou a voz de Amália entre as vozes que se moviam e se
escutavam nos mesmos espaços de sociabilidade? Como a voz de Amália terá
influenciado esses mesmos contextos e a própria conceção de voz, especialmente de voz
‘feminina’?
De modo a responder a estas e outras questões, procedo à análise da voz construída
discursivamente na imprensa tanto generalista como especificamente dedicada ao fado ao
longo da primeira década da carreira da fadista (1939-1949). Estas publicações permitem
aceder aos contextos e aos pressupostos ideológicos que sustentavam o modo como as
vozes eram produzidas, interpretadas e comunicadas. Analiso igualmente a voz
interpretativa, que podemos escutar nas primeiras gravações fonográficas realizadas pela
artista (1945), nos filmes Capas Negras (1946) e Fado, História de uma Cantadeira
(1947), exemplos que possibilitam imaginar e mapear o diálogo entre diferentes estéticas
e estilos interpretativos vocais. O meu principal argumento é que as relações
intertextualmente estabelecidas entre estas duas dimensões da voz, discursiva e
interpretativa, foram reificadas na figura e na voz de Amália Rodrigues, tornando-a um
espaço de encontro e confronto entre subjetividades individuais e estruturas e valores
sociopolíticos e institucionais. Entender e cartografar a construção desta voz e os modos
como foi sendo política e culturalmente apropriada, moldada e redefinida permitir-nos-á,
com maior abrangência, compreender o seu impacte na sociedade e cultura portuguesas.
This thesis addresses the construction of Amália Rodrigues’ voice as a sonic referent of Portugal and an acoustic materialization of identity-related ideas, concepts, emotions, and feelings, notions of socioeconomic class, education, gender, ‘race’, among others. How were these and other ideas about Amália Rodrigues’ voice constructed, reconfigured, and re-signified, and what do they reveal about the sociocultural contexts in which they were produced? Why did her voice stand out among others that were heard in the same spaces of sociability? How might Amália’s voice have influenced those same contexts and the very conception of voice, especially the ‘female’ voice? In order to answer these and other questions, I analyze the voice as discursively constructed in press publications during the first decade of Amália’s career (1939-1949), which allow access to the contexts and ideological assumptions underpinning the ways voices were produced, interpreted, and communicated. I also examine Amália’s interpretative voice in her first phonographic recordings (1945), in the films Capas Negras (1946) and Fado, História de uma Cantadeira (1947). These examples allow us to imagine and map the dialogue between different vocal aesthetics and interpretive styles. The intertextual relationships established between these two dimensions of the voice - discursive and interpretative - were reified in the figure and voice of Amália Rodrigues. I argue that Amália’s voice is a space of encounter and confrontation between individual subjectivities and sociopolitical and institutional structures and values. Understanding and mapping the construction of Amália’s voice and the ways in which it was politically and culturally appropriated, shaped, and redefined will contribute to our understanding of its impact on Portuguese society and culture.
This thesis addresses the construction of Amália Rodrigues’ voice as a sonic referent of Portugal and an acoustic materialization of identity-related ideas, concepts, emotions, and feelings, notions of socioeconomic class, education, gender, ‘race’, among others. How were these and other ideas about Amália Rodrigues’ voice constructed, reconfigured, and re-signified, and what do they reveal about the sociocultural contexts in which they were produced? Why did her voice stand out among others that were heard in the same spaces of sociability? How might Amália’s voice have influenced those same contexts and the very conception of voice, especially the ‘female’ voice? In order to answer these and other questions, I analyze the voice as discursively constructed in press publications during the first decade of Amália’s career (1939-1949), which allow access to the contexts and ideological assumptions underpinning the ways voices were produced, interpreted, and communicated. I also examine Amália’s interpretative voice in her first phonographic recordings (1945), in the films Capas Negras (1946) and Fado, História de uma Cantadeira (1947). These examples allow us to imagine and map the dialogue between different vocal aesthetics and interpretive styles. The intertextual relationships established between these two dimensions of the voice - discursive and interpretative - were reified in the figure and voice of Amália Rodrigues. I argue that Amália’s voice is a space of encounter and confrontation between individual subjectivities and sociopolitical and institutional structures and values. Understanding and mapping the construction of Amália’s voice and the ways in which it was politically and culturally appropriated, shaped, and redefined will contribute to our understanding of its impact on Portuguese society and culture.
Descrição
Palavras-chave
Voz como construção cultural Voice as a cultural construct Fado Amália Rodrigues Estado Novo Nostalgia Cosmopolitanism Nacionalismo Cosmopolitismo Nationalism