Texto, música e cena de Elis Regina em Alô, alô marciano de Rita Lee e Roberto de Carvalho.

• Ano de defesa: 2014
• Autor(a) principal: Deniele Naiara Perotti Mello
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Performance musical cênica; Relação texto-música-cena; Análise do canto popular; Elis Regina; Música popular brasileira; Performance musical; Regina, Elis, 1945-1982
• Link de acesso: http://hdl.handle.net/1843/AAGS-9KGGCN

The study of Brazilian popular music and the processes envolving its learning and performance are among the the most recent and relevant trends in scholarly research. For the popular singers, a most useful teaching and selfteaching tools is the modeling based on stablished performances by relevant artists. Even after her death, Brazilian singer Elis Regina (1945-1982)is still considered one of the most important marks in the interpretation of Brazilian music, displaying impeccable technique, musicality and stage acting. Departing from two video recordings by Elis Regina of the song Alô, alô, marciano by Brazilians musicians Rita Lee e Roberto de Carvalho, the present study focused on the lyrics, music and stage performance of the singer, based on (1) eight principles by Russian actor, theatre director, pedagogue and writer Constantin Stanislavski (1863-1938), selected among the principles established in his system for stage acting and (2) key concepts from discourse analysis and intertextuality. It was observed an imbrication between elements of popular music performance and theatre performance in the construction and resignification, what opens possibilities for the construction and consolidation of well structures performances for the popular music singer.