| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 124.68 KB | Adobe PDF | |||
| 74.8 KB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
Este artigo desenvolve o conceito de Pré-Voz, ancorado não só numa prática artística — onde são
referidas algumas pesquisas performativas vocais, nomeadamente no espectáculo MAGMA (solo vocal)
e em obras de pioneiros da pesquisa vocal como Cathy Berberian e Meredith Monk —, mas também na
teorização elaborada por Gilles Deleuze quanto ao conceito de pré-pictórico, na de Gilbert Simondon
quanto à noção de pré-indivíduo e na de Eugenio Barba quanto à de pré-expressivo. A Pré-Voz como
potência e sentido do gesto vocal é também um ainda Nada sonoro que se irá revelar em parte na
emissão vocal. Na procura de uma vocalidade que mais directamente traduza o seu carácter ontológico
e singular, a pintura de Francis Bacon é tomada como um impulsionador da emergência vocal
em cena, resultando num afastamento do logocentrismo e melocentrismo, que são comummente
considerados a principal função da voz.
ABSTRACT - This article develops the concept of Pre-Voice, anchored not only in an artistic practice — where some vocal performative researches are referred, namely in the show MAGMA (vocal solo) and in the works of vocal research pioneers like Cathy Berberian and Meredith Monk —, but also in the theorization developed by Gilles Deleuze concerning the concept of pre-pictorial, in Gilbert Simondon’s theorization concerning the notion of pre-individual and in Eugenio Barba’s concerning the pre-expressive. The Pre-Voice as power and sense of the vocal gesture is also still a sound Nothingness that will reveal itself partly in the vocal emission. In the search for a vocality that more directly translates its ontological and singular character, Francis Bacon’s painting is taken as a driving force of vocal emergence in the scene, resulting in a distancing from logocentrism and melocentrism, which are commonly considered the main function of the voice.
ABSTRACT - This article develops the concept of Pre-Voice, anchored not only in an artistic practice — where some vocal performative researches are referred, namely in the show MAGMA (vocal solo) and in the works of vocal research pioneers like Cathy Berberian and Meredith Monk —, but also in the theorization developed by Gilles Deleuze concerning the concept of pre-pictorial, in Gilbert Simondon’s theorization concerning the notion of pre-individual and in Eugenio Barba’s concerning the pre-expressive. The Pre-Voice as power and sense of the vocal gesture is also still a sound Nothingness that will reveal itself partly in the vocal emission. In the search for a vocality that more directly translates its ontological and singular character, Francis Bacon’s painting is taken as a driving force of vocal emergence in the scene, resulting in a distancing from logocentrism and melocentrism, which are commonly considered the main function of the voice.
Descrição
Palavras-chave
Voz Vocalidade Teatro vocal Voice Vocality Vocal theatre Pré-voz Pre-voice
Contexto Educativo
Citação
Editora
Faculdade de Belas-Artes Universidade de Lisboa