“Envolto em tempestade”: João Apolinário e as musicalizações de seus poemas no Brasil e em Portugal (1949 1974)
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Data
2020-09-15
Autores
Alecrim, Thales Reis
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Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho aborda a produção escrita de João Apolinário e as musicalizações dos seus poemas, tanto em Portugal, como no Brasil. Sua produção foi matizada por questões específicas em cada país. Em Portugal, dialogou com a estética do neorrealismo e engajou se no embate contra o E sta do Novo (1926 74). No Brasil, escreveu manifestos estético ideológicos, valorizou a prática teatral, atentou para as dinâmicas culturais brasileiras e os debates do “longo modernismo”. Lá e cá algumas constantes marcam sua obra, como a insistência na prática do engajamento e na expectativa revolucionária, mediadas por uma percepção específica do tempo histórico. Dos dois lados do Atlântico, músicos brasileiros e portugueses apropriaram se de sua obra, musicalizando alguns de seus poemas. Nosso propósito é examinar a obra de Apolinário com o intuito de observar as nuances do engajamento, da expectativa revolucionária e da sua percepção sobre o tempo histórico. Debateremos com os marcos teóricos da História Transnacional, pois as ideias que abordamos extrapolam as fronteiras nacionais e produzem práticas e representações diferentes em cada país.
The present work deals with João Apolinário’s written production and the musicalizations of his poems, both in Portugal and in Brazil. Specific issues in each country tempered its production. In Portugal, he kept in touch with the aesthetics of neorealism and engaged in the struggle against the Estado Novo (1926-74). In Brazil, he wrote aesthetic-ideological manifestoes, valued theatrical practice, looked at Brazilian cultural dynamics and the debates of "long modernism". Here and there, some constants mark his work, such as the insistence on the practice of engagement and revolutionary expectation, mediated by a specific perception of historical time. On both sides of the Atlantic, Brazilian and Portuguese musicians appropriated his work, musicalizing some of his poems. Our purpose is to examine Apolinário’s work in order to observe the nuances of engagement, of revolutionary expectation and of his perception of historical time. We will discuss the theoretical frameworks of Transnational History, because the ideas we approach go beyond national boundaries and produce different practices and representations in each country.
The present work deals with João Apolinário’s written production and the musicalizations of his poems, both in Portugal and in Brazil. Specific issues in each country tempered its production. In Portugal, he kept in touch with the aesthetics of neorealism and engaged in the struggle against the Estado Novo (1926-74). In Brazil, he wrote aesthetic-ideological manifestoes, valued theatrical practice, looked at Brazilian cultural dynamics and the debates of "long modernism". Here and there, some constants mark his work, such as the insistence on the practice of engagement and revolutionary expectation, mediated by a specific perception of historical time. On both sides of the Atlantic, Brazilian and Portuguese musicians appropriated his work, musicalizing some of his poems. Our purpose is to examine Apolinário’s work in order to observe the nuances of engagement, of revolutionary expectation and of his perception of historical time. We will discuss the theoretical frameworks of Transnational History, because the ideas we approach go beyond national boundaries and produce different practices and representations in each country.
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Palavras-chave
Engajamento, Expectativa Revolucionária, Poesia, Crítica, Canção, João Apolinário, Engagement, Revolutionary Expectation, Poetry, Criticism, Song