From “Parangolé”, by Ana Martins Marques, to “Vestido com vista pro mar”: the vocoperformance of Juliana Perdigão

Abstract

In order to contribute for researches about the poetry supports, this article is dedicated, in particular, to the study of vocoperformance, of the voice in performance, the vocal performance. For this, it is taken as a basis the poem “Parangolé”, by Ana Martins Marques (2011), musicalized by Juliana Perdigão (2016) – with the participation of Tulipa Ruiz –, present on the album Ó. Starting from a Marina Tsvetáeva (2017) excerpt in “O poeta e a crítica”, we will take, in a first moment, Jean-Jacques Rousseau (1999) in his Ensaio sobre a origem das línguas, trying to understand what kind of voice is the one who whispered to Tsvestáeva ears, giving her directions, sometimes orders – “when the voice indicates, I discuss; when the voice orders, I obey” (TSVETÁEVA, 2017, p. 45). In search of this understanding, in search of this voice who pursues – a voice “of the order of poetic perception and not of deduction” (ZUMTHOR, 2014, p. 15) –, we continue with Friedrich Nietzsche (2001) in A gaia ciência, more specifically in the aforism “Da origem da poesia”; and with Arnaldo Antunes (2014), in his text “Sobre a origem da poesia”. As theoretical support for a deeper compreension of these issues, especially in the field of song, performance and sung poetry studies, we will use researchers such as  Adriana Cavarero (2011), Enzo Minarelli (2010), Lia Tomás (2002), Luiz Tatit (1996;2014;2016), Paul Zumthor (2014) and Renato Cohen (2002).