Banca de QUALIFICAÇÃO: Caísa Antunes Tibúrcio Guimarães

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
STUDENT : Caísa Antunes Tibúrcio Guimarães
DATE: 08/12/2023
TIME: 14:00
LOCAL: Teams
TITLE:

CONCERT À DOIDIVANA: the musical comedy of Chiquinha Gonzaga and the relationship with singing clowns in Rio de Janeiro (1870-1920)

KEY WORDS:

Singing clown, Chiquinha Gonzaga, female clowning, musicality, comedy.

PAGES: 179
BIG AREA: Lingüística, Letras e Artes
AREA: Artes
SUMMARY:

This research is a theoretical-practical investigation into comic musicality focused on the creative process in clowning and the relationship between the performance of singing clowns and the musicality of Chiquinha Gonzaga. At the end of the 19th century and beginning of the 20th century, the figure of the clown singer, actor and guitar player was fundamental for the dissemination of urban popular music, with maxixe being a dance and a very representative musical genre for establishing a cultural identity. that engendered Brazil's newly republic. Chiquinha Gonzaga was a woman with transgressive attitudes and an exponent of this movement. Thus, I look for possible relationships between the work of Chiquinha Gonzaga and the musical comedy that grew in Brazil from the performance of singing clowns in the circus, on the streets, in the growing recording industry and in theaters. My hypothesis is that every musical contribution made by Chiquinha Gonzaga was reflected in a musical comedy created by the maxixe and widely disseminated by the singing clowns. Practical research consists of the creation and exploration of a scenic musical device: a bicycle with several musical instruments. From the exploration of sound objects, musical instruments and vocality, I investigate the creation of a musical dramaturgy in line with the comedy of musical clowns, the musicality of Chiquinha Gonzaga and the structures of contemporary female clowning. To this end, there will be methodological pluralism, of art research (ZMBONI,2001), encompassing recording and analysis of the creative process, analysis of historical documents, scores and compositions by Chiquinha Gonzaga. The research is based on references to musical clowns (SILVA and MELO FILHO, 2014) and (MELO FILHO, 2003), musical theater (MENCARELI, 1996 and 2003), popular culture with (ABREU, 2003 and 2017) and (MARZANO , 2008), in contemporary studies of female clowning, in the musicality and pioneering efforts of conductor Chiquinha Gonzaga (DINIZ, 2009) and in feminist studies on the history of the suffrage movement (HAHNER 1981).

COMMITTEE MEMBERS:
Interna - 1762467 - ELIZANGELA CARRIJO
Externa à Instituição - JOICE AGLAE BRONDANI - UFBA
Externa à Instituição - LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA - UERJ
Presidente - 2161837 - MARCUS SANTOS MOTA