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Dramaturgia, Gestus E Música Estudos Sobre a Colaboração De Bertolt Brecht, Kurt Weill E Hanns Eisler, Entre 1927 E 1932

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Dramaturgia, Gestus E Música Estudos Sobre a Colaboração De Bertolt Brecht, Kurt Weill E Hanns Eisler, Entre 1927 E 1932 Universidade de Brasília – UnB Instituto de Artes – IdA Programa de Pós-Graduação em Arte – PPG-Arte Dramaturgia, gestus e música Estudos sobre a colaboração de Bertolt Brecht, Kurt Weill e Hanns Eisler, entre 1927 e 1932 Geraldo Martins Teixeira Júnior Brasília 2014 Universidade de Brasília Instituto de Artes – IdA Programa de Pós-Graduação em Arte – PPG-Arte Linha de pesquisa: Processos Composicionais para a Cena Dramaturgia, gestus e música Estudos sobre a colaboração de Bertolt Brecht, Kurt Weill e Hanns Eisler, entre 1927 e 1932 Tese apresentada ao Curso de Pós Graduação do Departamento de Artes Visuais do Instituto de Artes da Universidade de Brasília como um dos requisitos para a obtenção do título de Doutor em Processos Composicionais para Cena. Orientador: Prof. Dr. Marcus Santos Mota Geraldo Martins Teixeira Júnior Brasília Dezembro de 2014 2 Banca examinadora: ____________________________________________________________ Prof. Dr. Marcus Santos Mota (CEN/UnB) Orientador ____________________________________________________________ Prof. Dr. André Luis Gomes (TEL/UnB) Membro efetivo ____________________________________________________________ Profa. Dra. Cinthia Nepomuceno (Dança/IFB) Membra efetiva ____________________________________________________________ Notório Saber João Antonio de Lima Esteves (CEN/UnB) Membro efetivo ____________________________________________________________ Prof. Dr. Jorge Graça Veloso (CEN/UnB) Membro efetivo Brasília, 19 de dezembro de 2014 Coordenação de Pós-Graduação do Departamento de Artes Visuais do Instituto de Artes da Universidade de Brasília 3 Agradecimentos Gostaria de agradecer às pessoas que ofereceram subsídios ou acompanhamento ao projeto. Ao orientador e membros da banca, pela atenção, sugestões e críticas. A Stephen Baumgärtel pelo parecer detalhado durante a qualificação. A Dave Stein, arquivista da Kurt Weill Foundation, pela disponibilidade em me receber, disponibilizar materiais e trazer informações. Ao Dr. Tobias Faßhauer, do Instituto de Musicologia da Humboldt Universität de Berlim, por ter ouvido e dado sugestões importantes à proposta da pesquisa. 4 Resumo Este trabalho propõe uma análise de espetáculos de um ponto de vista interdisciplinar e multimidiático, a partir do trabalho de Bertolt Brecht em parceria com os músicos compositores Kurt Weill e Hanns Eisler, entre o período de 1927 e 1932. A pesquisa propõe um método que possibilite interpretar a significação da cena nos momentos onde o gestus ocorre, sendo a música um dos elementos articuladores. O gestus é tratado como uma configuração situacional que articula música, texto e encenação após a interrupção do fluxo da cena apresentada. Parte-se da concepção de Benjamin do gesto brechtiano, enquanto dialética suspensiva, como também da proposta de Cook em torno da significação musical em um contexto multimidiático e de performance. Indaga-se sobre a interação entre os elementos, se de forma hierárquica e vertical, ou contextualizada conforme o procedimento e efeito estético intencionado, discutindo-se uma possível autonomia compartilhada e horizontal entre eles. O gestus como configuração resultante (moldura circunscrita) conduz a apresentação para um movimento em duas fases, a de interrupção/suspensão e a de configuração/multiplicidade, o que o aproxima da tensão entre mímese e diegese (na forma como Puchner sugere a antiteatralidade diegética em Brecht). O resultado é uma ampliação de possibilidades por meio de uma ruptura com o cânone naturalista, transformando a cena em um ritual de exposição de suas marcas, transformando a representação em presença. O método se constrói observando-se a formação de molduras multicanais (Goffman) que os diferentes momentos dos espetáculos adquirem, e seus desdobramentos enquanto camadas visuais/espaciais e canais sonoros, formados principalmente por meio das canções e números musicais. A antiteatralidade em Brecht, ao utilizar-se da música, coincide com o que Goffman chama de experiência negativa, ou seja, com a negação dos limites da representação teatral e criação de um teatro diegético (Puchner). Por meio dos rastros musicais, textuais, entre outros, reconstrói-se a materialidade heterogênea dos espetáculos e cria-se uma leitura sobre o seu processo de significação, onde a música é a “mais valiosa contribuição para o tema” (Brecht). Palavras-chave: música, gestus, encenação. 5 Abstract This work proposes an analysis of stage performances of an interdisciplinary and multimedia point of view, from Bertolt Brecht's work in partnership with composers and musicians Kurt Weill Hanns Eisler, between the period of 1927 and 1932. The research proposes a method that allows to interpret the significance of the scene in the moments where the gestus occurs, the music being one of the organizers elements. The gestus is treated as a situational setting that links music, text and staging after stopping the flow of the displayed scene. It starts with the Benjamin's conception of Brechtian gesture, while suspensive dialectics, as well as Cook's proposal around the musical meaning in a multimedia and performative context. It asks about the interaction between the elements, if hierarchical and vertically, or contextualized as the procedure and intended aesthetic effect, discussing a possible shared and horizontal autonomy between them. The gestus as resulting configuration (circumscribed frame) leads the presentation to a movement in two phases, the interruption/suspension and configuration/multiplicity, which brings it near of the tension between mimesis and diegesis (in the form as Puchner suggests the diegetic antitheatricalism in Brecht). The result is an enlargement of means through a break with the naturalist canon, transforming the scene in an exhibition ritual of its marks, turning the representation into presence. The method is built observing the formation of multi-channel frames (Goffman) that the different times performance acquire, and its development as visual/spatial layers and sound channels, formed mainly through the songs and musical numbers. The antitheatricalism in Brecht, while making use of the music, coincides with what Goffman calls negative experience, in other words, with the negation of the limits of theatrical representation and creating a diegetic theater (Puchner). Through musical and textual traces, among others, the research rebuilds the heterogeneous materiality of the performances and creates a reading on the signification process of them, where the music is “the most valuable contribution to the theme” (Brecht). Key words: music, gestus, staging. 6 Índice de figuras Figura 1 – Óperas e peças didáticas entre 1927 e 1932 26 Figura 2 – programas originais dos Festivais de Baden-Baden em 1928 e 1929 35 Figura 3 – Montagens Brecht-Weill – Texto, canto e forma musical 46 Figura 4 – Divisão das partes da publicação de Lehrstück pela editora B. Schott’s Söhne, Mainz, em 1929 49 Figura 5 – Cena 6 (dos palhaços) em Lehrstück (1929) 49 Figura 6 – A tábua de Mahagonny para o teatro 67 Figura 7 – A tábua de Mahagonny para a música 67 Figura 8 – Modelos de multimídia 96 Figura 9 – A ópera dos três vinténs, cena 3 100 Figura 10 – Barbarasong – Compassos 14 a 16 105 Figura 11 – Barbarasong – Compassos 1 a 3 108 Figura 12 – Diferenças e semelhanças entre o gênero opera seria e a Ópera dos três vinténs 116 Figura 13 – A ópera dos três vinténs – Quadro de distribuição entre partes faladas e cantadas 121 Figura 14 – A ópera dos três vinténs (Dreigroschenoper) – Metáforas 124 Figura 15 – Prelúdio (Overtüre) – Primeira subparte, compassos 1 a 4 (WEILL, 2000, p. 1) 126 Figura 16 – Prelúdio (Overtüre) – Segunda supbarte – Compassos 5 a 8 (WEILL, 2000, p. 1) 128 Figura 17 – Prelúdio (Overtüre) – Segunda subparte – Compasso 9 ao 12 (WEILL, 2000, p. 1) 128 Figura 18 – Prelúdio (Overtüre) – Terceira subparte – Compasso 13 ao 16 (WEILL, 2000, p. 1) 129 Figura 19 – O Moritat de Mac Navalha (Die Moritat Von Mackie Messer) Compassos 1 a 8 136 Figura 20 – O coral matinal de Peachum (Morgenchoral des Peachum), compassos 1 a 5 144 Figura 21 – O coral matinal de Peachum (Morgenchoral des Peachum), compassos 9 a 12 145 Figura 22 – A canção do em-vez-de (Anstatt daß-Song) – compassos 1 a 4 150 Figura 23 – A canção do em-vez-de (Anstatt daß-Song) – compassos 5 a 7 150 Figura 24 – A canção do em-vez-de (Anstatt daß-Song) – compassos 11 a 13 151 Figura 25 – A canção do em-vez-de (Anstatt daß-Song) – compassos 17 a 19 152 Figura 26 – A canção do em-vez-de (Anstatt daß-Song) – compassos 20 a 23 153 Figura 27 – Aquele que diz sim (Der Jasager), 1930 – foto de Otto Hopf 159 Figura 28 – Aquele que diz sim (Der Jasager) – Distribuição temporal de atos e cenas 167 7 Figura 29 – Aquele que diz sim (Der Jasager) – Gráfico temporal, espacial e de andamentos 168 Figura 30 – Aquele que diz sim (Der Jasager), n. 1, compassos 1 a 4 173 Figura 31 – Aquele que diz sim (Der Jasager), n. 1, compassos 18 a 23 174 Figura 32 – Aquele que diz sim (Der Jasager), n. 2, compassos 26 a 31 176 Figura 33 – Aquele que diz sim (Der Jasager), n. 4, compassos 1 a 4 177 Figura 34 – Aquele que diz sim (Der Jasager), n. 4, compassos 50 a 54 178 Figura 35 – Aquele que diz sim (Der Jasager), n. 5, compassos 1 a 4 179 Figura 36 – Aquele que diz sim (Der Jasager), n. 5, compassos 83 a 86 180 Figura 37 – Aquele que diz sim (Der Jasager), n. 5, compassos 105 a 112 180 Figura 38 – Aquele que diz sim (Der Jasager), n. 8, compassos 36 a 41 182 Figura 39 – Aquele que diz sim (Der Jasager), n. 8, compassos 72 a 79 183 Figura 40 – A mãe (Die Mutter) – Canções por cena 188 Figura 41 – A mãe (Die Mutter) – Abertura, deslocamento de Wlassowa 195 Figura 42 – Como os corvos (Wie die Krähe), compasso 1 a 4 197 Figura 43 – Como os corvos (Wie de Krähe) - Compassos 5 a 7 200 Figura 44 – A canção da sopa (Das Lied von der Suppe), compassos 14 a 19 206 Figura 45 – O casaco rasgado (Der zerissene Rock), compassos 1 a 4 210 Figura 46 – O casaco rasgado (Der zerissene Rock), compassos 9 a 10 210 Figura 47 – O casaco rasgado (Der zerissene Rock), compassos 11 a 14 211 8 Sumário Apresentação ................................................................................................................
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