Vocalidade poética: entre textualidade e musicalidade - traçados para uma possível pedagogia das vozes.
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Data
2022-08-30
Autores
Nunes, Gabriela Flores [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Este estudo tem como tema a vocalidade poética e versa sobre as relações entre voz e palavra. Investiga-se a prática vocal em processos criativos contemporâneos a partir das relações entre vocalidade, textualidade e musicalidade, com vistas à elaboração de uma possível pedagogia experimental das vozes. A partir da experiência pregressa como atriz no Centro de Pesquisa Teatral (CPT) de Antunes Filho, em especial a prática da experimentação vocal com o fonemol, foram exploradas as possibilidades de contato com o texto não somente pela perspectiva da semântica, mas também através de uma experiência com a materialidade sonora da voz. Trata-se de uma pesquisa teórico-prática envolvendo descrição, análise e sistematização dos processos criativos vivenciados. Desenvolvido no âmbito didático através da orientação do “Lab_Voz” (laboratório de experimentação vocal) e no âmbito artístico através de experimentos cênicos, tais como a performance “Vozes da Sombra", este trabalho coloca a experiência do CPT em perspectiva e em diálogo com novos referenciais. Também fazem parte da pesquisa escrituras poéticas que compõem a ação performativa “Desconcerto, uma Cantata para Ossos''. Esta diversidade de ações possibilita o cultivo de uma pesquisa incorporada, ou seja, da prática como pesquisa. O estudo da vocalidade proposto por Paul Zumthor, o conceito de unicidade das vozes de Adriana Cavarero e as provocações de Antonin Artaud fundamentam as reflexões teóricas e são fonte de inspiração para os dispositivos artístico-pedagógicos. A voz revela-se como um campo expandido, impulsionadora de processos criativos, instaurando atmosferas sonoras, ambiências, estados de presença e dramaturgias, pistas para uma possível pedagogia das vozes.
This study has poetic vocality as its theme and deals with the relationship between voice and word. The vocal practice in contemporary creative processes is investigated based on the relationships between vocality, textuality and musicality, with the intention of elaborating a possible experimental pedagogy of voices. From the previous experience as an actress at Antunes Filho's Center for Theater Research (CPT), especially the practice of vocal experimentation with the phonemol, the possibilities of contact with the text were explored not only from the semantic perspective, but also through an experience with the sound materiality of the voice. It is a theoretical-practical research involving description, analysis and systematization of experienced creative processes. Developed in the didactic scope through the orientation of the “Lab_Voz” (vocal experimentation laboratory) and in the artistic scope through scenic experiments, such as the performance “Vozes da Sombra”, this work puts the CPT experience in perspective and in dialogue with new references. Also part of the research are poetic writings that make up the performative action “Desconcerto, uma Cantata para Ossos”. This diversity of actions makes it possible to cultivate an incorporated research, that is, of practice as research. The study of vocality proposed by Paul Zumthor, the concept of uniqueness of the voices by Adriana Cavarero and Antonin Artaud’s provocations support the theoretical reflections and are a source of inspiration for the artistic-pedagogical devices. The voice reveals itself as an expanded field, driving creative processes, establishing sound atmospheres, ambiences, states of presence and dramaturgy, clues to a possible pedagogy of voices.
This study has poetic vocality as its theme and deals with the relationship between voice and word. The vocal practice in contemporary creative processes is investigated based on the relationships between vocality, textuality and musicality, with the intention of elaborating a possible experimental pedagogy of voices. From the previous experience as an actress at Antunes Filho's Center for Theater Research (CPT), especially the practice of vocal experimentation with the phonemol, the possibilities of contact with the text were explored not only from the semantic perspective, but also through an experience with the sound materiality of the voice. It is a theoretical-practical research involving description, analysis and systematization of experienced creative processes. Developed in the didactic scope through the orientation of the “Lab_Voz” (vocal experimentation laboratory) and in the artistic scope through scenic experiments, such as the performance “Vozes da Sombra”, this work puts the CPT experience in perspective and in dialogue with new references. Also part of the research are poetic writings that make up the performative action “Desconcerto, uma Cantata para Ossos”. This diversity of actions makes it possible to cultivate an incorporated research, that is, of practice as research. The study of vocality proposed by Paul Zumthor, the concept of uniqueness of the voices by Adriana Cavarero and Antonin Artaud’s provocations support the theoretical reflections and are a source of inspiration for the artistic-pedagogical devices. The voice reveals itself as an expanded field, driving creative processes, establishing sound atmospheres, ambiences, states of presence and dramaturgy, clues to a possible pedagogy of voices.
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Palavras-chave
Voz - Educação, Atores, Criação (Literária, artística, etc.), Voice - culture Exercises, Actors, Creation (Literary, artistic, etc.)