Belting Pós Rent: Um Estudo Sobre a Evolução Do Canto Do Teatro Musical Norte-Americano

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Belting Pós Rent: Um Estudo Sobre a Evolução Do Canto Do Teatro Musical Norte-Americano cena n. 28 Belting Pós Rent: um estudo sobre a evolução do canto do teatro musical norte-americano Adrielly Oissa Universidade Federal da Integração Latino-Americana/UNILA, Foz do Iguaçu, Brasil E-mail: [email protected] Resumo Abstract Observando os relatos sobre a tragé- Looking at reports of the vocal trag- dia vocal que aconteceu no musical Rent de edy that happened in the musical Rent of 1996, quando grande parte do elenco perdeu 1996, when much of the cast lost its voice, a voz, e com base nos estudos de Schutte and based on studies by Schutte and Mill- e Miller (1992), Popeil (1999), Edwin (2007), er (1992), Popeil (1999), Edwin (2007), Durham-Lozaw (2014) e Silva (2016) sobre Durham-Lozaw (2014) and Silva (2016) on a voz do belt, a autora propõe uma refle- the voice of the belt, the author proposes xão a respeito do ensino do canto do teatro a reflection on the teaching of the singing musical norte-americano e as transforma- of North American musical theater and the ções sofridas na pedagogia vocal do belt ao transformations undergone in the vocal ped- longo dos anos. Para tal, foram analisadas agogy of the belt over the years. For that, duas interpretações de uma mesma canção two interpretations of the same song of the do musical Rent, executadas pela mesma musical Rent, executed by the same sing- cantora em um intervalo de 10 anos, uma er in an interval of 10 years, one in 1996 em 1996 e outra em 2006 e, duas interpre- and one in 2006 and, two interpretations of tações de uma mesma canção do musical a same song of the musical Cabaret, one Cabaret, uma executada em 1972 e outra executed in 1972 and another in 2015. The em 2015. Os resultados desse estudo mos- results of this study show that there was a tram que houve significativa mudança na significant change in the vocal pedagogy pedagogia vocal do canto de teatro musi- of North American musical theater singing, cal norte-americano, o que proporciona aos which gives contemporary musical theater cantores de teatro musical contemporâneo, singers a lower risk of suffering from vocal menor risco de sofrerem com problemas vo- problems caused by improper voice use. In cais causados pelo uso inadequado da voz. addition, they show the importance of sing- Além disso, mostram a importância de que ing teachers and vocal-speaking experts to professores de canto e especialistas em voz know the vocal physiology in belting produc- cantada conheçam a fisiologia vocal na pro- tion and to know how to perform and apply dução do belting e saibam como executar e the technique to their students. aplicar a técnica aos seus alunos. Palavras-chave Keywords Belting. Canto. Teatro Musical. Técnica Vo- Belting. Singing. Musical Theater. Vocal Tech- cal. Pedagogia Vocal. nique. Vocal Pedagogy. cena n. 28 Introdução cabeça como cantoras de ópera e, em vez disso, “cantavam” suas canções de maneira A junção de teatro e música é uma tra- forte, agressiva e com voz de peito, dando dição antiga e pode receber diversos nomes origem a uma nova maneira de se cantar na dependendo de seu contexto, gênero, épo- Broadway (MILLER, 2007). A pesquisado- ca, país de origem e técnica vocal: ópera, ra e especialista em belting Lisa S. Popeil opereta, óperas bufas, burlesco, comédia diz que “...a tradição do “bel canto” colocou musical, teatro musical, dentre outros. Se- em questão a validade artística, a saúde e gundo Kenrick, o teatro musical da Broa- até mesmo o valor estético desse poderoso dway como conhecemos hoje teve início uso da voz4” (POPEIL, 1999, p.27). Robert com as operetas, vindas da ópera cômica Edwin em seu artigo “Belt is Legit” fala sobre francesa e vienense do século XIX (KEN- o modo com que o belting foi visto na aca- RICK, 2008). Elizabeth Ann Benson diz que demia e entre os apreciadores da música “as habilidades técnicas requeridas dentro chamada “erudita”. Ele diz que o belting “era de um determinado gênero musical são visto como “não culto”, comercial e, de certa determinadas pelo contexto estético do re- forma, o filho bastardo do canto autêntico5” pertório alvo” (BENSON, 2018, p.10, tradu- (EDWIN 2007, p.213). ção nossa1)2. Gerald Bordman em seu livro O belting passou por transformações ao “American musical theatre: A chronicle” diz longo dos anos e alcançou grande suces- que os estilos de canto do musical norte-a- so em todo o mundo, hoje ele é conhecido mericano contemporâneo originaram-se de como “a voz da Broadway” mesmo não sen- duas fontes distintas: primeiro da tradição do uma técnica exclusiva de teatro musical. do “bel canto” e, posteriormente, da tradi- Segundo Edwin “...o belting está lentamente ção folclórica afro-americana, incorporada ganhando credibilidade como uma forma de nos estilos de música popular do país, como arte vocal viável e legítima, digna de estudo vaudeville, jazz e blues (BORDMAN, 2001). médico e científico, apoio pedagógico e crí- O belting apareceu na Broadway na dé- tica artística6” (EDWIN 2007, p.213). Neste cada de 1940 nas vozes de cantoras como estudo, analisarei as mudanças ocorridas na Ethel Merman, Celeste Holm e Judy Gar- execução do belting, observando os avan- land como uma alternativa ao legit3 (WELLS, ços nos estudos científicos sobre a fisiolo- 2006). Na época, o belting era um recurso gia vocal e as mudanças na pedagogia do timbrístico característico de personagens canto de teatro musical. Para isso, tendo em cômicos ou caricatos enquanto que as he- consideração o fato de que é preciso partir roínas, as protagonistas românticas ainda de algum ponto, tomarei como um marco na utilizavam a voz legit. Segundo Scott Miller, transição da técnica, o musical Rent pois e Ethel Merman foi a primeira dentre várias chamou a atenção o relato encontrado no mulheres, cantoras de teatro musical, que rejeitavam a prática de cantar em voz de 4 “...Bel Canto tradition has brought into question the artistic va- lidity, healthfulness, and even aesthetic value of this powerful 1 “The technical skills required within a given musical genre are use of the voice.” determined by the aesthetic context of the target repertoire.” 5 “Belt, on the other hand, was looked on as “low brow,” com- 2 Todas as traduções deste artigo foram feitas pela autora. mercial, and somewhat the bastard child of authentic singing.” 3 Legit vem de “legitimate voice”, ou seja, a “voz legítima” lírica”. 6 “...belt slowly is gaining credibility as a viable and legitimate É semelhante ao canto lírico tradicional. Nessa época o canto vocal art form worthy of medical and scientific study, pedagogic lírico era considerado como a “voz legítima”. support, and critical artistic review.” 28 Oissa // Belting Pós Rent: um estudo sobre a evolução do canto do teatro musical norte-americano Revista Cena, Porto Alegre, nº 28, p. 27-39 mai./ago. 2019 Disponível em: http://seer.ufrgs.br/cena cena n. 28 livro Strike Up The Band, de Scott Miller, em aprender para ensinar sobre essa técni- onde diz que grande parte do elenco sofreu ca fez com que muitos cantores sofressem de problemas vocais durante sua estréia na com problemas vocais enquanto tentavam Broadway em 1996. se adequar às exigências do teatro musical que cada vez mais buscava artistas com- pletos, capazes de cantar para grandes pla- Belting antes e depois de Rent téias, atuar e dançar. No dia 29 de abril de 1996, estreou na O termo belting vem do verbo “to belt Broadway o musical Rent, de Jonathan Lar- out”, que significa cantar de maneira força- son. Rent tornou-se um divisor de águas na da ou gritada. Hoje o belting é conhecido história dos musicais, o show tornou-se um como um canto que utiliza voz mista de pei- fenômeno cultural, além de trazer nova vida to (chest mix)7 com predominância do sub comercial aos musicais da Broadway, tam- registro de peito, cantado em “forte” nas re- bém trouxe para o teatro um público mais jo- giões média e aguda da voz feminina, sendo vem, graças a sua temática e produção ino- que, na voz masculina é cantado somente vadoras e por colocar fim ao grande divisor na região aguda da voz. É produzido com a entre a música pop e a música de teatro que laringe em posição natural, faringe estreita existia desde a chegada do rock and roll na e com a boca e a mandíbula bem abertas, década de 1950. Ao pesquisar a história do caracterizando um som mais brilhante, fron- teatro musical, mas especificamente a traje- tal e metálico. No agudo, a partir do C48, o tória dos cantores de teatro musical, depa- belting é conhecido como high belt. rei-me com um relato a respeito do elenco Até o início dos anos 90 havia poucos original de Rent que chamou a minha aten- estudos sobre belting. Nessa época, o bel- ção e, aguçou o desejo de me aprofundar ting era considerado por professores de sobre o tema da pedagogia vocal ofertada canto classicamente treinados, que eram aos cantores de teatro musical. Segundo absoluta maioria, como prejudicial à saúde Miller, durante uma apresentação, nove dos da voz. Edwin sugeriu que esta polêmica principais membros do elenco estavam em em torno do belting se desenvolveu por- repouso vocal (MILLER, 2007). que os pedagogos de voz classicamente treinados não tinham informação suficiente De fato, os desafios musicais de Rent e o estilo rock and roll de performance sobre a técnica e a fisiologia vocal no bel- fizeram com que dezenas de atores es- ting (EDWIN, 1998). Essa falta de estudos tivessem se machucando vocalmente relevantes a respeito do belting e a grande fazendo o show, ficando com fadiga vo- cal severa, adquirindo nódulos em suas reticência dos professores de canto lírico pregas vocais, ou apenas ficando do- entes pelo esforço de fazer o show oito 7 “A voz mista, ou mix pode também ser dividida de acordo com vezes por semana.
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