A carregar...
Publicação
Os autos com barcas” de Gil Vicente enquanto ópera. Análise de propriedades significantes nos Auto da barca do inferno (1944) e Auto da barca da glória (1970) de Ruy Coelho e na Trilogia das barcas (1969) de Joly Braga Santos
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 144.9 KB | Adobe PDF | |||
| 901.07 KB | Adobe PDF | |||
| 146.34 KB | Adobe PDF | |||
| 10.03 MB | Adobe PDF | |||
| 1.19 MB | Adobe PDF |
Orientador(es)
Resumo(s)
É possível constatar, ao percorrer fortuitamente a produção de compositores portugueses do século XX, que a obra do dramaturgo quinhentista Gil Vicente foi várias vezes aproveitada para a composição de diversas partituras. Em geral, é também notório o interesse desses e de outros compositores por imaginários medievalistas, tanto em contexto nacional como internacional. Esta investigação procura compreender este fenómeno, observando em particular os casos dos “autos com barcas” transformados em ópera por Ruy Coelho (1889-1986) e por Joly Braga Santos (1924-1988). Propõe-se contribuir, genericamente, para o estado da arte sobre a história da ópera em língua portuguesa, sobre o fenómeno vicentino em Portugal e sobre a relação entre “medievalismo” e “nacionalismo” em música. Recolhidas as fontes e os contextos estéticos, sociais, políticos que lhes deram origem, bem como as respectivas consequências musico-dramáticas mais imediatas, procede-se à análise de propriedades significantes das obras em estudo, explorando os modi operandi e propósitos conceptuais com que se deram os processos de transformação do “auto” em “ópera”. Para tanto, parte-se essencialmente da “teoria dos tópicos” tal como multidisciplinarmente explorada por Raymond Monelle em The Sense of Music (2000), na esperança de que os “tempos” identificados revelem as “temporalidades” com que as óperas foram escritas ou que elas acabam por evocar e, portanto, clarifiquem a posição estética dos compositores visados enquanto agentes críticos da sua contemporaneidade.
By fortuitously traversing the production of Portuguese composers from the 20th century, it is possible to find that the output of the 16th-century playwright Gil Vicente was used several times to compose various scores. In general, both nationally and internationally, the interest of these and other composers in some medievalist imaginary is also notorious. This investigation seeks to understand this phenomenon, observing the particular cases of the “ship plays” transformed into opera by Ruy Coelho (1889-1986) and Joly Braga Santos (1924-1988). It proposes to contribute, generically, to the state of the art on the history of opera in Portuguese language, on the phenomenon of Vicente’s modern rediscovery and on the relationship between “medievalism” and “nationalism” in music. Having collected the sources and the aesthetic, social, political contexts that gave rise to them, as well as its more immediate music-dramatic consequences, the meaningful properties of these works are analyzed, exploring the modi operandi and conceptual purposes through which the composers transformed the “autos” into “operas”. To do so, the research is developed around the “topic theory” as explored by Raymond Monelle in The Sense of Music (2000), hoping that the identified “times” reveal the “temporalities” with which the operas were written or which they end up evoking. In doing so, therefore, the research aims to clarify the aesthetic position of Ruy Coelho and Joly Braga Santos as critical agents of their contemporaneity.
By fortuitously traversing the production of Portuguese composers from the 20th century, it is possible to find that the output of the 16th-century playwright Gil Vicente was used several times to compose various scores. In general, both nationally and internationally, the interest of these and other composers in some medievalist imaginary is also notorious. This investigation seeks to understand this phenomenon, observing the particular cases of the “ship plays” transformed into opera by Ruy Coelho (1889-1986) and Joly Braga Santos (1924-1988). It proposes to contribute, generically, to the state of the art on the history of opera in Portuguese language, on the phenomenon of Vicente’s modern rediscovery and on the relationship between “medievalism” and “nationalism” in music. Having collected the sources and the aesthetic, social, political contexts that gave rise to them, as well as its more immediate music-dramatic consequences, the meaningful properties of these works are analyzed, exploring the modi operandi and conceptual purposes through which the composers transformed the “autos” into “operas”. To do so, the research is developed around the “topic theory” as explored by Raymond Monelle in The Sense of Music (2000), hoping that the identified “times” reveal the “temporalities” with which the operas were written or which they end up evoking. In doing so, therefore, the research aims to clarify the aesthetic position of Ruy Coelho and Joly Braga Santos as critical agents of their contemporaneity.
Descrição
Anexos sonoros para consulta na Biblioteca Mário Sottomayor Cardia
Palavras-chave
Ópera Teatro Gil Vicente Ruy Coelho Joly Braga Santos Teoria dos tópicos Temporalidade Medievalismo Nacionalismo Pianto Tonalismo Atonalismo Máquina em música Morte em música África Guerra Colonial Portuguesa Topic theory Temporality Medievalism Nationalism Tonality Atonality Machine music Death in music Africa Portuguese Colonial War