Entretempos do corpo e da voz na escrita de artista como história: testemunho e (des)construção de representações na escritura biográfica de Estércio Marquez Cunha (Goiânia, dos anos 1965 a 2013)
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2015-06-26
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Universidade Federal de Goiás
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The writing about an artist’s life permeates the universes of creation that reflects places
from memory, affections, sensations, dimensions that are interpolated and unveiled by
the historian in the construction of a biographical history narrative. We are going to
course here, the just space, interstice, between music and history, having the composer
Estércio Marquez Cunha (1941 - ), from Goiás, as a reference of thinking about these
relations, the life and the work (vidobra – Dosse), the deed (Derrida) and the own
testimony (Ricoeur). Therefore, we have two ways of research: interviews with the
composer and sources from dissertations, tasks, work (precisely from 1965 to 2013),
personal book reports. Estércio’s ´ production is marked by diversified pieces, with
formation to solo instruments, orchestra, choir, chamber music groups. His creation
process is strongly connected with the other arts, considering his songs with poems
made by himself, or yet a highlighted genre, the theater music. Every sound, rhythm,
move, can become material for a composition, since it is organized and thought
artistically. In his pieces the image of silence, of the extended time, broaden, is
outstanding, with preference for slow tempos, that stimulate the process of perception –
the way the artist utilizes for aesthetic reflections, besides the exploration of the timbre,
rhythmic, melodic – from the space of the criticism, and the positioning of the human
being before the dimensions of solitude, anguish. Such questions are still little studied in
the musicology in Goiás, or in the regional classical music scene, where Estércio is
reference. Many sound desire become reverberated in a multiple temporal relation and
superimposed from inspiration, intention, from deed and performance. With the purpose
to talk, and unveil, the creator in his sound narratives, between the work and the
discourse, we consisted a deployment of the historical and musicological thinking:
Estércio in the history of music, his singularities and exemplarities. The aim is to
register and present an intellectual biography (Dosse), a biographical writing, reaffirm
an establisher moment of art in time-space dimension in Goiás, having Estércio as
character of the action, of the historical plot, an unfinished tissue, contribute to the
studies about art/music in the national scene, highlighting the directory group of CNPq
INTERARTES. The life and the work of the artist align in the formulation of a
historiography, with sights to the relations between archives, texts, contexts, institutions
and aspects of the configuration of I, subject-composer. An evidentiary trajectory
ensures the analysis, the interpretation, an hermeneutic vision of the structure in his
fractures: the polyphonic field, that life and history mix, identity, creation,
consciousness and liberty.
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BARBARESCO FILHO, E. Entretempos do corpo e da voz na escrita de artista como história: testemunho e (des)construção de representações na escritura biográfica de Estércio Marquez Cunha (Goiânia, dos anos 1965 a 2013). 2015. 343. Tese (Doutorado em História) - Universidade Federal de Goiás, Goiânia, 2016.