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Universidade Federal De Minas Gerais Faculdade De Letras Programa De Pós-Graduação Em Estudos Literários UNIVERSIDADE FEDERAL DE MINAS GERAIS FACULDADE DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LITERÁRIOS Miguel de Ávila Duarte Nocagions: relações entre escrita e notação em John Cage e Hélio Oiticica Belo Horizonte 2017 1 Miguel de Ávila Duarte Nocagions: relações entre escrita e notação em John Cage e Hélio Oiticica Tese de Doutorado apresentada ao Programa de Pós-Graduação em Estudos Literários da Faculdade de Letras da Universidade Federal de Minas Gerais como requisito parcial à obtenção do título de Doutor em Estudos Literários. Área de concentração: Teoria da Literatura e Literatura Comparada Linha de pesquisa: Poéticas da Modernidade Orientador: Wander Melo Miranda Belo Horizonte 2017 2 Ficha catalográfica elaborada pelos Bibliotecários da Biblioteca FALE/UFMG D812n Duarte, Miguel de Ávila. Nocagions [manuscrito] : relações entre escrita e notação em John Cage e Hélio Oiticica / Miguel de Ávila Duarte. – 2017. 262 p., enc. : il. Orientador: Wander Melo Miranda. Área de concentração: Teoria da Literatura e Literatura Comparada. Linha de pesquisa: Poéticas da Modernidade. Tese (doutorado) – Universidade Federal de Minas Gerais, Faculdade de Letras. Bibliografia: f. 245-262. 1. Literatura – História e crítica – Teses. 2. John, Cage. – Crítica e interpretação – Teses. 3. Oiticica, Hélio, 1937-1980. – Crítica e interpretação – Teses. 4. Arte e literatura – Teses. 5. Música e literatura – Teses. 6. Escrita – Teses. I. Miranda, Wander Melo. II. Universidade Federal de Minas Gerais. Faculdade de Letras. III. Título. CDD : 809 3 Aos vivos (inclusive os que não estão mais entre nós) 4 Resumo Esta pesquisa tem por foco os escritos do artista plástico carioca Hélio Oiticica e do compositor estadunidense John Cage, em especial a relação entre tais escritos e as formas de notação que, partindo do âmbito da música, se generalizam em múltiplas práticas artísticas ao longo dos anos 1960, assim como o lugar de tais artefatos no quadro artístico e cultural da contemporaneidade. Para tanto, lançamos mão de duas concepções diferentes de interação entre as lógicas da escrita e da notação musical – partitura-texto e texto-partitura –, contextualizando-as no quadro das relações entre oralidade, escrita, visualidade e gravação de áudio. Nos escritos de Cage são examinadas as preparações textuais que os recortam e informam, especialmente por via de estratégias heterodoxas de leitura, citação e fragmentação, concretizando a concepção do autor da literatura como forma híbrida espaço-temporal, articulada na analogia biológica com os mixomicetos. Em Oiticica, buscamos a especificidade dos seus escritos do período novaiorquino, caracterizada pelo uso da escrita como instrumento e pela concepção do texto como container. É proposto que tais traços se relacionam com o diálogo do artista carioca com os textos de Cage e de outros artistas da linhagem cageana da vanguarda novaiorquina de então. Diálogo, por um lado, informado pela referência à música que atravessa todas as fases da obra e do pensamento de Oiticica e, por outro, tencionado pela determinação subversiva do artista em relação à assimetria geopolítica do mundo da arte. Em seguida, são elencadas indagações sobre o lugar da obra do artista e do compositor no panorama contemporâneo da arte e da cultura, enfatizando a impossibilidade de classificá-los no quadro de uma oposição entre modernismo e pós- modernismo, assim como o fato de que ambos continuam se fazendo presentes nos debates atuais tanto pela evocação quanto pelo questionamento de suas posições e , por fim, o lugar das próprias idéias de vanguarda e experimentalidade no quadro de um mundo interligado pela web. Palavras chave: Hélio Oiticica – John Cage – texto-partitura – partitura-texto 5 Abstract This research is focused on the writings of the Brazilian visual artist Hélio Oiticica and those of the American composer John Cage. It deals in particular with the relationship between such writings and the multiple forms of notation which, coming from the context of music, became widely used in different fields of the arts throughout the 1960s, as well as the place of such artifacts in the contemporary art world and culture at large. To this end we use two different conceptions of interaction between the logics of writing and musical notation – score-text and text-score – highlighting the connection between them and the practices of orality, writing, visuality and audio recording. The textual preparations that inform and deform Cage’s writings, notably through non usual strategies of reading, quotations and fragmentation, are examined, as is his peculiar concept of Literature as a space-time hybrid form, defined by his biological analogy with myxomycetes. In Oiticica, we sought the specificity of his writings from the New York period, characterized by the use of writing as a tool and the text as “container”. It is proposed that such traits are related to the dialogue of the Rio de Janeiro artist with the texts of Cage and other artists in the cagean tradition of the New York avant-garde of that time. Dialogue which is informed, on the one hand, by a interest in music that goes through all phases of Oiticica's work and thought and, on the other, by the artist subversive approach to the geopolitical asymmetry of the art world. Questions about the relevance the artist’s and the composer’s work in the contemporary field are asked, stressing the impossibility of confining them in the opposition between modernism and the postmodernism. Both have at the same time been mentioned as validation and questioned in current discussions and both take part of the recent reconfiguration of the ideas of the avant-garde and the experimental in the context of web. Key words: Hélio Oiticica – John Cage – text-score – score-text 6 AGRADECIMENTOS Ao meu orientador Wander Melo Miranda, para quem a literatura nunca se limitou a uma defesa de fronteiras, por me guiar, apoiar e confiar nesta pesquisa. Ao meu co-orientador durante o período no exterior, James Saunders, e à Bath Spa University por me acolherem e instigarem em uma pesquisa que parecia não se encaixar em lugar nenhum, assim como ao compositor Michael Winter que generosamente me colocou em contato com Saunders. À minha companheira de vida toda Maria Caram, fonte de força, de alegria e parceira de produções e diálogos múltiplos, por me apoiar e inspirar durante todos esses anos. Aos meus pais Rodrigo e Myriam, com os quais sempre posso contar, tanto nos momentos difíceis, quanto nos felizes, que me ensinaram vida a fora que pensar é ao mesmo tempo risco e prazer. À minha irmã Nathalia, amálgama raro de leveza e determinação, por sempre acreditar nas boas possibilidades. Aos amigos artistas Matthias Koole, Dorothé Depeauw, Preto Matheus, Marcelo Olecram, Monaí de Paula, Sara Lambranho, Maria Fernanda Moreira, Ana Moravi, Dellani Lima, Vanessa de Michelis, Thelmo Cristovam, Henrique Iwao, Felipe Joseba, Thiago Miotto, Edson Fernando, Ricardo Passos, Valério Fiel da Costa, J. P. Caron, Paulo Dantas, Clarisse Lacerda, Froiid Caco, Warley Desali, Luiza Ancântara, Lu da Iola, Simone Cortesão, Renato Negrão, Lucas Kröeff, Otávio Filho do Mauro, Paula Lobato, Fabiano Fonseca, Jod Moreira, Amina Jorge – assim como aos demais parceiros e parceiras queridos da música, da dança, das artes plásticas, do cinema, da literatura e da produção no ü, no Não Onda, na Georgette Zona Muda, no Picnic no Front, no Coletivo Distante, no Madame Rrose Sélavy, no Colégio Invisível, no 4e25, na Editora, no Terra negra e nas iniciativas dispersas da vida – por me lembrarem sempre que criação, risco, experimentalidade e coragem se conjugam também no tempo presente. Aos grandes amigos de vida toda Ricardo Nachmanovitcz, Amanda Lima, Carlão Frankiw, Melliandro Galinari, Fabi Flores, Laila Abo Ganem, Pedro Munhoz, Valdir Ramalho, Cristiane Duarte, Ale Fiorini, Cíntia Almeida, Juliana Souza, Lídia Melo, Cris Dulce, Cleber Cabral, Milene Migliano, Diogo Rodrigues, Fabinho Gabriel Martins, Maurílio Castro de Matos, Andréa Varela, Manoel Madeira e todas as outras pessoas queridas que fazem a vida neste planeta valer a pena. 7 Aos meus familiares do lado dos Duarte e dos Ávila, assim como à minha família emprestada, os Caram, por sempre me lembrarem o que significa me sentir em casa. Ao meu tio Sérgio Luz que me aJudou na diagramação deste trabalho. À FAPEMIG e ao CNPq que possibilitaram com seu apoio esta pesquisa respectivamente aqui e no exterior. 8 SUMÁRIO 1. Nocagions: Hélio Oiticica e John Cage na terça grátis de Inhotim e o não-lugar da literatura na contemporaneidade..........................................................................................................................10 A literatura e suas fronteiras.........................................................................................................13 2. O registro visual dos sons: partituras-texto e textos-partitura nas fronteiras entre a escrita e a notação musical................................................................................................................................20 Da palavra-voz ao paradigma da transparência...........................................................................23 Texto, partitura, partitura-texto....................................................................................................35 Opacidade, gravação, texto-partitura...........................................................................................54 3.Como se lê em público: John Cage, o texto preparado e a literatura como mixomiceto..............74
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