ESTUDOS LINGUÍSTICOS E LITERÁRIOS Fabio Coura De Faria
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i UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM INGLÊS: ESTUDOS LINGUÍSTICOS E LITERÁRIOS Fabio Coura de Faria SHAKESPEARE MEETS ROCK: THE TEMPEST AND ITS TRANSMUTATION INTO AQUA, BY THE BRAZILIAN BAND ANGRA Dissertação submetida ao Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Letras. Orientadora: Profª. Drª. Anelise Reich Corseuil Florianópolis 2016 ii iii iv v ACKNOWLEDGEMENTS With great respect and appreciation, I wish to thank the following: My family for their everlasting support and for being my constant in a world of variables: my parents Wagner and Ágape, who have guided and inspired me throughout my life, with unconditional love; my sisters Dayana and Mônica, whose companionship I cherish beyond words. My cousins Adriano and Geise, for the perfect childhood spent together. My girlfiend Bettina, whose love and affection makes me the luckiest man in the world, and who has been with me through thick and thin. My friends in Florianópolis: Renato and Olegas for the unfailing friendship. Lesy, Thayse, Jeff, Kiki, and Lincoln, for the epic moments spent together. Tanise, Lary, Dudu, Raí, and Hendrick, for the solid camaraderie. My bandmates from Coverture, Thiago, Leonardo, Mauricio and Vitor, great friends and musicians who have enabled me to pursue my artistic endeavors as a vocalist. I have gained enormously from conversations with Marcelo, my partner during the practicum. Thanks also to Matheus, for the many laughs and the shared knowledge. George and Jéssica, for the strong partnership, fun moments, and fruitful talks. To the awesome feminists Patty and Pri I owe profound thanks for their generosity and inspiration. My friends in Cuiabá: Arthur, Jorge, Valdir, Daniel, Lis, and Alberto, with whom I shared countless unforgettable moments. My long distance friends: Zuinglio, Raquel, Mariana, Isabela, Rodolfo, Robin, and Raminta for the amazing moments spent both online and in person. Special thanks to all the professors who have guided and inspired me throughout the recent years: Professor Anelise Corseuil, for being an excellent advisor and friend, and whose important teaching expanded the horizons of my academic life. Professor José Roberto O’Shea, whose expertise and passion towards Shakespeare were an inspiring force for this research, helping me to shape ideas. Thanks to professors Eliana Ávila, Maria Lúcia Milleo, and Susana Funck, who gifted me with various insights in their classes, paving my academic trajectory in UFSC and enabling me to grow intellectually and personally. I would also like to deeply thank my teachers from the UFSC-WIESCO program: Ken, Kate, Ms. Delaney, and Gloria, for enriching my cultural exchanges with the US. vi My Literature students in the estágio docência, whose enthusiasm and critical thinking deeply inspired me, making my first experience in academic teaching a fantastic one. Thanks also to the institution CAPES for allowing me to focus on my academic endeavors during the past two years in the Master’s program. The financial support was highly beneficial for the development of this thesis. vii ABSTRACT SHAKESPEARE MEETS ROCK: THE TEMPEST AND ITS TRANSMUTATION INTO AQUA, BY THE BRAZILIAN BAND ANGRA FABIO COURA DE FARIA UNIVERSIDADE FEDERAL DE SANTA CATARINA 2016 The present thesis investigates the adaptation of William Shakespeare’s The Tempest into the music album entitled Aqua, released by the Brazilian heavy metal band Angra in 2010. The historical trajectory of the The Tempest throughout the last centuries underwent political and theoretical impacts with the rise of postcolonialism. In 1950, Octave Mannoni unleashed, with Psychologie de la colonization, the sparkle for an increasing attention to the play in places where anticolonial ideologies would soon emerge, noticeably Africa and the Caribbean. Similarly, George Lamming approached Shakespeare in the light of postcolonial perspectives with his collection of essays entitled The Pleasures of Exile (1960), a (re)interpretation of The Tempest that focuses on its characters Prospero and Caliban. Angra’s music album Aqua, through the usage of its specific adaptation apparatuses such as melodic elements, lyrics, and paratextual material, addresses different themes, characters, and situations from The Tempest while bringing a postcolonial perspective to the fore. Moreover, the musical adaptation provides, with the song “A Monster in Her Eyes”, a reinterpretation of the relationship between Prospero and Caliban which resonates with postcolonial critical theory, subverting the depiction of Caliban as a monster and giving voice to his claim as a native sovereign. This theoretical interplay is analyzed under the light of Linda Hutcheon’s A Theory of Adaptation as a means to observe the means of expression behind the musical adaptation phenomenon, channeling the adapted works to alternative publics, settings, and temporal contexts. Number of pages: 88 Number of words: 31,076 viii ix RESUMO SHAKESPEARE MEETS ROCK: THE TEMPEST AND ITS TRANSMUTATION INTO AQUA, BY THE BRAZILIAN BAND ANGRA FABIO COURA DE FARIA UNIVERSIDADE FEDERAL DE SANTA CATARINA 2016 Esta dissertação investiga a adaptação da peça A Tempestade, de William Shakespeare, para o álbum Aqua, lançado em 2010 pela banda brasileira de heavy metal Angra. A trajetória histórica da peça nos últimos séculos sofreu impactos políticos e teóricos com a ascensão do pós-colonialismo. Em 1950, Octave Mannoni desencadeou, em Psychologie de la colonization, crescente atenção à peça Shakespeareana em cenários onde ideologias anticoloniais estavam por emergir, como a África e o Caribe. De forma análoga, George Lamming apropriou Shakespeare a perspectivas pós-coloniais com sua coleção de ensaios intitulada The Pleasures of Exile (1960), com sua (re)interpretação dos personagens Próspero e Caliban. O álbum Aqua, através do uso de mecanismos de adaptação específicos, tais como elementos melódicos, letras e material paratextual, aborda diferentes temas, personagens e situações da peça, ao mesmo tempo em que adentra questões pós-coloniais. A adaptação musical desenvolve, na canção "A Monster in Her Eyes", uma releitura da relação entre Próspero e Caliban, que ressoa com a teoria crítica pós-colonial, subvertendo a representação de Caliban como um monstro e resguardando sua soberania nativa. Relações dialógicas entre a peça e o álbum são traçadas com o suporte de A Theory of Adaptation, de Linda Hutcheon, no intuito de analisar os meios de expressão por trás do fenômeno de adaptação musical, que apropria obras adaptadas para diferentes públicos e contextos espaciotemporais. Número de páginas: 88 Número de palavras: 31.076 x xi LIST OF IMAGES Figure 2.1: Aqua’s cover art displaying Prospero..................................31 Figure 2.2: Reverse of the CD’s back card, with a biblical passage in Latin........................................................................................................31 Figure 2.3: Music sheet displaying the vocal lines of “Arising Thunder”.................................................................................................40 Figure 3.1: Holy Land’s cover art (front and back sides of the booklet)...................................................................................................64 Figure 3.2: Inside content from Aqua’s booklet (two pages)..…................................................................................................64 xii xiii TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………….. v ABSTRACT…………….……………..………………………......... vii RESUMO……………………….…..……………………………….. ix LIST OF IMAGES……………………….…..……………….……. xi CHAPTER I: INTRODUCTION -“ARISING THUNDER”……. 1 CHAPTER II: “THE RAGE OF THE WATERS” - CONCERNING THE ADAPTATION APPARATUSES................ 23 2.1 Creating New Originals…………………….…………………..... 23 2.2 A Dramatic Soundscape………………………………………..... 27 2.3 From Playtext to Music: A Song-by-Song Analysis…………….. 32 CHAPTER III: “AWAKE FROM DARKNESS” - THE TEMPEST AND AQUA IN CONTEXT……………………. 63 3.1 A Tempestuous Trajectory…………………………………......... 63 3.2 A Creative Interplay……………………………………………... 72 CHAPTER IV: CONCLUSION - “VIDERUNT TE AQUÆ”...... 81 APPENDIX.......................................................................….……….. 89 REFERENCES..........................................................……………….. 95 xiv 1 CHAPTER I INTRODUCTION - “ARISING THUNDER” “Ohne Musik wäre das Leben ein Irrtum”.1 (Friedrich Nietzsche) Few and far between are the names in Literature whose works have been so oftentimes adapted, interpreted and appropriated as have those of William Shakespeare. His plays, in their original purpose to be staged, have nevertheless gone far beyond the realm of theater and reached out to an array of different art incarnations and scenarios. For instance, the plethora of filmic adaptations of Shakespeare’s dramatic canon constitutes a history of its own, some of them displaying enormous attention to theatrical aesthetics (such as Laurence Oliver’s 1948 production of Hamlet), and others displaying the film director’s audacity for characterization (such as Julie Taymor’s The Tempest, from 2010). Concerning Shakespeare on television and radio, the BBC TV series production was able to cover the Bard’s canon in a period of seven years (from 1978 to 1985), and more than twenty productions of The Tempest were aired through BBC Radio until 2006. Similarly, as discussed by John Steane in “Shakespeare and Music”, “The