Sons encenam: reflexões sobre a música no teatro

• Ano de defesa: 2019
• Autor(a) principal: Silva, Tatiane Oliveira da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em Artes Cênicas
• Palavras-chave em Português: Artes híbridas; Imagens musicais; Som objetificado; Teatro pós-dramático; Teatro; Artes Cênicas; Poética; Movimento (Encenação); Dramaturgia; Música dramática; Encenação; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO::DRAMATURGIA; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA::COMPOSICAO MUSICAL
• Link de acesso: https://repositorio.ufu.br/handle/123456789/26747; http://dx.doi.org/10.14393/ufu.di.2019.41

This master thesis presents a reflection about how musical sounds may build and/or alter the meanings and senses at the theatrical scene and, consequently, in the audience reception, especially in the contemporary theater scene. By understanding that the two arts – theatre and music – have a historical relationship of shared principles, I recall parts of the historical intertwining between the two artistic languages, citing two events which I consider fundamental for allowing the development of an autonomous presence of musical elements in the scene. They are the appearance of the figure of the director and the broadening of the concept of dramaturgy. For that I work upon the advancements proposed in the works of composers such as Wagner (1813 – 1883) and directors such as Meyerhold (1874 – 1940), Stanislavski (1863- 1938), Brecht (1898 – 1956), Artaud (1896 – 1948) and Bob Wilson (1941) when relating to the treatment given to the musical layer. After the events following the drama crisis – in the 20th century – and the course that both arts wondered towards contemporaneity – such as the appearance of new theatrical and musical forms related to performative acts – I cite a few possibilities in which the sounds may operate in the contemporary theatrical scene, such as the effects of sound in the temporal aspects of the scene, the use musical sounds as objects, the perspective of sounds as a spatial aspect of the scene and the sound as image. I bring authors such as Tragtenberg (1999), Piccon-Vallin (2013), Bernard Dort (1977), Lehmann (2007) and Caznok (2008), whose knowledge regarding the musical and theatrical languages stablish a dialogue which leads tips to the development of hybrid forms of scenic creation, in which musical sounds have a growing presence.