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No Dia Em Que Bob Dylan Foi Dublado Com Perfeição

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No Dia Em Que Bob Dylan Foi Dublado Com Perfeição 1 Detalhe da obra Favela Villa Broncos da Brazil Series de Bob Dylan NO DIA EM QUE BOB DYLAN FOI DUBLADO COM PERFEIÇÃO 2 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS DIEGO GARCIA DA ROSA NO DIA EM QUE BOB DYLAN FOI DUBLADO COM PERFEIÇÃO Porto Alegre 2017 3 DIEGO GARCIA DA ROSA NO DIA EM QUE BOB DYLAN FOI DUBLADO COM PERFEIÇÃO Dissertação de Mestrado Para obtenção do título de Mestre em Letras Universidade Federal do Rio Grande do Sul Programa de Pós-Graduação em Letras Instituto de Letras: Literatura, Sociedade e História da Literatura Orientador: Homero Vizeu Araújo Porto Alegre 2017 4 CIP - Catalogação na Publicação Rosa, Diego Garcia da No Dia Em Bob Dylan Foi Dublado Com Perfeição / Diego Garcia da Rosa. -- 2017. 180 f. Orientador: Homero José Vizeu Araújo. Dissertação (Mestrado) -- Universidade Federal do Rio Grande do Sul, Instituto de Letras, Programa de Pós- Graduação em Letras, Porto Alegre, BR-RS, 2017. 1. Bob Dylan. 2. Tradução da Canção . 3. Caetano Veloso. 4. Chico Amaral . 5. Fausto Nilo. I. Vizeu Araújo, Homero José, orient. II. Título. Elaborada pelo Sistema de Geração Automática de Ficha Catalográfica da UFRGS com os dados fornecidos pelo(a) autor(a) 5 FOLHA DE APROVAÇÃO Diego Garcia da Rosa. No dia em que Bob Dylan foi dublado com perfeição. Dissertação de Mestrado. Objetivo do trabalho: Compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan e baseada nas abordagens adotadas pelos mesmos compor uma versão de uma canção do vasto repertório dylaniano. Programa de Pós-Graduação em Letras - Instituto de Letras: Literatura, Sociedade e História da Literatura. Porto Alegre, 22 de Novembro de 2017. ________________________________________________ Luis Augusto Fischer ________________________________________________ Ian Alexander ________________________________________________ Caetano Waldrigues Galindo 6 DEDICATÓRIA Dedico este trabalho ao Caio, Mariana, Milena e Bento. May you grow up to be righteous May you grow up to be true May you always know the truth And see the lights surrounding you May you always be courageous Stand upright and be strong May you stay forever young (Forever Young – Bob Dylan) 7 AGRADECIMENTOS Agradeço a Antônio Marcos Vieira Sanseverino, Andrea Kahmann, Carol Abreu, Cyntia Aguiar Ribeiro, David Kirk, Denise Regina Sales, Diego Grando, Gerson Neumann, Guto Leite, Heine Wentz, Homero Vizeu Araújo, Karina Lucena, Katia Suman, Leandro Cezimbra, Lisandra Oliveira e Silva, Liziane Kugland, Luis Augusto Fischer, Luciano Cezimbra de Freitas, Marcelo Kunrath Silva, Marcio Petracco, Maria Eneida Giordani, Melissa Moura Mello, Patrícia Reuillard, Patrizia Cavallo, Regina Zilberman, Ricardo Sabadini, Rodrigo Batista de Freitas e Tiago Pedruzzi. 8 Tudo aquilo que o malandro pronuncia Com voz macia é brasileiro, já passou de português Amor lá no morro é amor pra chuchu As rimas do samba não são I love you E esse negócio de alô, alô boy e alô Johnny Só pode ser conversa de telefone Não Tem Tradução (Noel Rosa) 9 RESUMO O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo para tal o formato da canção. As canções, apresentadas na ordem cronológica do lançamento das versões, são cotejadas com suas respectivas originais e os panos de fundo dos quatro versionistas, procurando analisar o caminho que cada um trilhou para chegar a sua interpretação. Ao final, tendo como enfoque as abordagens colhidas, apresento uma versão de própria lavra de uma canção do cancionista americano. Palavras-chave: Bob Dylan; Canções Vertidas para a Língua Portuguesa; Tradução da Canção; Canção. 10 ABSTRACT The present work aims to trace the approaches which led to the perfection of Negro Amor, Romance no Deserto and Tanto, three versions to songs of singer-songwriter Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango and I Want You respectively) e, focusing not merely on translation, but in the transposition of Dylan’s lyric into Brazilian Portuguese in which the song format has been maintained intact. The songs, presented in the chronological order of the versions, are collated with their corresponding originals and backgrounds of the four Brazilian composers, looking to analyze the way in which each one of them was able to reinterpret a Dylan song. At the end, taking into account the approaches gathered along this study, I present my own version of a Bob Dylan song. Keywords: Bob Dylan; Songs Translated Into Portuguese; Song Translation; Song. 11 SUMÁRIO INTRODUÇÃO .......................................................................................................................13 1. O porquê da escolha das três canções ...............................................…...............................15 1.1 Like a Rolling Stone e a ruptura definitiva ....…..........................................................…..16 2 No dia em que Bob Dylan foi dublado com sotaque baiano .................................................22 2.1 A formação poética de Robert Zimmerman .......................................................................24 2.2 It’s all over now, baby blue e a fase dream songs ..............................................................27 2.3 A canção de protesto ..........................................................................................................30 2.4 Caetano Veloso e Péricles Cavalcanti ................................................................................37 2.5 A primeira estrofe de Negro Amor e It’s All Over Now, Baby Blue ................................44 2.6 A segunda estrofe de Negro Amor e It’s All Over Now, Baby Blue .................................48 2.7 A terceira estrofe de Negro Amor e It’s All Over Now, Baby Blue …..........................…48 2.8 A quarta estrofe de Negro Amor e It’s All Over Now, Baby Blue ....................................49 2.9 A Ruptura: As Festivaias ...................................................................................................51 3 No dia em que Bob Dylan foi dublado com sotaque cearense ..............................................55 3.1 Fausto Nilo .........................................................................................................................59 3.2 Jacques Levy ......................................................................................................................62 3.3 A primeira estrofe de Romance no Deserto e Romance in Durango .................................66 3.4 O Bandido Social - a cultura do cangaço e o do cowboy ..................................................68 3.5 A segunda estrofe de Romance no Deserto e Romance in Durango .................................72 3.6 O refrão de Romance no Deserto e Romance in Durango .................................................73 3.7 A presença feminina no cangaço .......................................................................................74 3.8 A terceira estrofe de Romance no Deserto e Romance in Durango ...................................77 3.9 A quarta e quinta estrofe de Romance no Deserto e a quarta estrofe de Romance in Durango .................................................................................79 3.10 A sexta estrofe de Romance no Deserto e a quinta e sexta estrofe Romance in Durango ..........................................................................82 3.11 A sétima estrofe de Romance in Durango .......................................................................86 3.12 A sétima e oitava estrofe de Romance no Deserto e a oitava e nona estrofe de Romance in Durango ......................................................................86 3.13 O refrão final de Romance no Deserto .............................................................................87 4 No dia em que Bob Dylan foi dublado com sotaque mineiro ...............................................87 4.1 O ritmo alucinante, o colapso e o acidente ........................................................................91 4.2 A primeira estrofe de Tanto e I Want You .........................................................................96 4.3 A segunda estrofe de Tanto e I Want You .......................................................................100 4.4 Dylan e a Bíblia ................................................................................................................101 4.5 Under the influence of: as influências (primeira dose) ....................................................106 4.6 A poesia e o vinil .............................................................................................................109 4.7 O método ..........................................................................................................................112 4.8 A terceira e quarta estrofe de Tanto e I Want You ..........................................................114 4.9 Under the influence of: as influências (segunda
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