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Singing Poets: Popular Music and Literature in France and Greece

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Singing Poets: Popular Music and Literature in France and Greece Singing Poets Popular Music and Literature in France and Greece (1945-1975) Reading Brassens, Ferré, Theodorakis and Sawopoulos Ph.D. Dimitris Papanikolaou UCL September 2002 ProQuest Number: U642726 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642726 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis is based on a comparative examination of popular music in Greece and France between 1945 and 1975. Its central claim is that the concept of the singing poet provided a crucial framing of the field of popular music in both countries and led to a reassessment of the links between literature and popular culture. The term singing poets is coined in order to regroup artists who used poetic texts for their songs or adopted a poetic persona themselves, but also accounts for the reception of a particular style of popular music in the period and the countries under discussion as poetic/intellectual song. Adopting a Cultural Studies approach, this thesis thus outlines the role played by the prestige of literary institutions and an idealized view of oral poetry in the conceptualization ofhigh-popular music. It questions the presentation of certain singer- songwriters as ‘poets in their own right’, as folk poets, auteurs, poet-composers, bards and troubadours. Books, special editions and articles published in France in the 60s are extensively examined in the first part to reveal their traditionalist consensus about the poetic value of the work of certainAuteurs-Compositeurs-Interprètes. Roland Barthes’s theorization of reading (and) jouissance provides a vivid counterargument by opening up the possibility of seeing literariness and pop pleasure as symbiotic rather than mutually exclusive. The second part focuses on Greek popular music and reviews how the field of what was termed Entehno Laiko (Art-Popular) has been performatively shaped by the work of Mikis Theodorakis and Manos Hadjidakis. The significant input of literary ideals and the success of Theodorakis’s Melopoiemene Poiese (Sung Poetry) project are fundamental to this process. The resulting cultural divide between ‘high’ and ‘low’ popular music spheres is reassessed by examining the ‘dislocating’ performance of singer-songwriter Dionysis Sawopoulos, who appeared in the mid-60s performing a hybrid mimicry of Georges Brassens and Bob Dylan. Through readings of his songs, performances and interviews, popular music emerges both as the space of a re­ constructed utopia and as a subversive Other to high cultural forms. Contents Acknowledgments 6 Preface 7 Note on transliteration, references and translations 10 Introduction: Les feuilles mortes or On how to speak about songs 11 1. ‘Les feuilles mortes se ramassent à la pelle’: a popular song narrative 12 2. Conceptualizing popular music 18 3. The logics of the High-Popular: the case of the singing poets 24 4. The literary viewpoint 29 5. Seriousness vs. frivolity 33 5. Reading pop 36 Part one: Poetry and the songs The genre of Auteurs-Compositeurs-Interprètes and its impact on French Popular Music in the 1950s and 1960s 44 1. Poetry and the system of French song 45 The mirror of poetry Whither the poetic? The popular politics of the Resistance Intellectuals, the ‘style Rive Gauche’ and the new songwriting 2. Georges Brassens: The troubadour as a nation 55 National imagery and the modem troubadour Chanson folklorique/ chanson populaire Blurring the boundaries of folk The juggler of words - the writer of sounds The singing poet singing poets ‘La poésie quotidienne de la chanson’ Fraise for ‘a national poet’ The ‘mythe Brassens’ and its opposite Songs beyond the poetic 3. The songwriters as‘Poètes d’aujourd’hui’: The canon politics of a literary series 77 Chanson and the literary canon... Reading the Seghers titles: Ferré ... and then Brassens LPs on the bookselves Criticism and the ‘new canon’ of Singing Poets Brel in Seghers: Poésie et chansons Chanson... un art mineur Aznavour, Trenet, Gainsbourg... the other poetry The logics of a plural space Epilogue: Reading the singing poets against the grain 103 Part two: Greece of the Two Composers Popular Music as a National Institution (1948-1963) 114 1. Before the Two Composers 117 The Two Composers at the moment of their intervention Rebetika The popular and the folklore 2. Manos Hadjidakis and the re-production of Rebetiko 130 The system of songs at the time of Hadjidakis’s Lecture (1949) The lecture Rebetiko as popular painting The Six Popular Paintings Hadjidakis’s fragmentary aesthetics Hadjidakis and Gatsos, or the place of dreams 3. Mikis Theodorakis and the invention of Laiko 143 The Left and the Popular Gramsci’s National-Popular A new Popular Song The disappearance of Elafto The birth of Art-Popular: Entehno Laiko In place of a conclusion: The 60s of the two composers 166 Part three: The 60s, the singer-songwriter and his way to a-void Dionysis Sawopoulos and the new challenges of popular music (1963-1975) 176 1. The ‘spirit of the ‘60s’ and the dissonant politics of mimicry 177 The Greek 60s as re-produced by Sawopoulos The 60s in process Cultural (post)colonialism More notes on mimicry Imitation as Form, Mimicry as Resistance 2. The troubadour on stage: Yéyé confusions from the Greek Georges Brassens 195 The excess of youth and youth as excess Lyra and the inception of Neo Kyma Neo Kyma, ‘La Nouvelle Vague’ and the Greek ‘yeyedes’ Sawopoulos’s early songs A new genre and its politics Hopping on a Van Conclusion: Staging sameness, performing difference 3. Subterranean Void Blues: Sawopoulos through jouissance 218 The plain upside down: Subterraneity and the Junta anti-politics Artists in process: re-laying rebetika and demotika. Counterculture vs. Subculture Moving around a Fool’s Garden Voi(ce)d: tearing, hole and emptiness ‘With electric voices’: ‘Zeibekiko” s countercultural politics ‘Her body melting in my mouth’: the oral politics of emptiness Unlocking metonymy: A Lacanian perspective Fantasy, jouissance and the sinthome ‘Into the long song, I was built alive’: built in jouissance Conclusion: ‘What’s Happening?’: a songwriter undoing himself 251 Conclusion 262 Bibliography 269 To Michael, who made it happen To William, who made it worth it Acknowledgements I would like to extend my thanks to Professor Michael Worton, my principal supervisor at University College, London, for his constant support and unstinting intellectual involvement in my project. I have benefited a great deal from our collaboration, but most of all, I have learnt not to be afraid to turn my enthusiasm into concrete arguments. This thesis is profoundly influenced by Michael’s style of questioning, researching and formulating ideas. Professor Dimitris Tziovas, of the Centre of Modem Greek Studies, University of Birmingham, also provided invaluable input in his capacity as a supervisor, especially in the parts of this thesis dealing with Greek popular music and literature. This thesis would have been much different had I not met Professor Alexes Polites, of the University of Crete, who generously shared with me his imaginative work on Sawopoulos and his knowledge of the 60s. Professor Ere Stavropoulou, of the University of Athens, has never ceased to be a constant source of ideas and encouragement. Anna Stamatopoulou read and commented on the final draft with typical precision and her always elegant style. This thesis was made possible by the financial support of a grant from IKY, the Greek State Scholarship Foundation (Comparative Literature). A generous grant for the completion of the thesis was furnished by the A. G. Leventis Foundation. I would also like to thank the Friends Programme, UCL, for their financial assistance. A Phylis Palmer Travel Fund and a special grant from the UCL Graduate School facilitated two months research work in Paris. A great number of people have provided support in both personal and professional capacities, foremost among them, Dionysis Sawopoulos, the late Tasos Falireas, Nikos Grosdanes, Panos Maravelias, Giannes Petrides, Angela Kastrinaki, Marianna Spanaki, Konstantina Papageorgiou, Kyra Paraschaki, Shekufeh Whittaker, Tea Vassileiadou, Professor Labros Liavas, Anne-Marie Duffy, Professor Martin Swales, Professor Theo Hermans, Tina Mandilara, Vaios Karavas, Doxa Sivropoulou. My mother Konstantina Nanou and my sister Eleni Syminelaki-Nanou, know how much important they have been for me for my whole life - as with everything I do, this is dedicated to them u tc o t o v Kouxoonpout o v ç . Only William McEvoy knows the greatness of my debts to him - he has invested great effort in helping me shape thoughts and expressions, but I owe him something far more important: the shape of a life. Preface This thesis was inspired by the observation that the popular music of both postwar France and Greece was dominated by discussions about what constituted a ‘good’ popular song, and that in these discussions literary criteria often predominated. I identify this as the impulse to create a field of well-defined high-popular music, which would in turn bestow visibility and acceptance on a larger field of popular music, for which the high-popular could subsequently function as a yardstick. Another point of initial comparison was that in both countries we can find a significant trend of setting published poems to popular music, which culminated in the early 60s. I have thus coined the term singing poets in order to convey some of the central factors that shaped the work and reception of a series of celebrated popular musicians in Greece and France in the period between 1945 and 1975.
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