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)

• Autor(a) principal: Barbaresco Filho, Eduardo
• Data de Publicação: 2015
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000005c07
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/5094
• topic: Escritura biográfica; Estércio Marquez Cunha; Processos de criação; Biographical deed; Estércio Marquez Cunha; Creation process; HISTORIA::HISTORIA DO BRASIL

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.