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Doctoral Thesis
DOI
10.11606/T.8.2007.tde-05102007-152243
Document
Author
Full name
Maria Claudete de Souza Oliveira
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2007
Supervisor
Committee
Villaca, Alcides Celso de Oliveira (President)
Bueno, Raquel Illescas
Daud, Roberto
Moura, Murilo Marcondes de
Wisnik, Jose Miguel Soares
Title in Portuguese
Presenças de Orfeu
Keywords in Portuguese
Canção
Carlos Drummond de Andrade
Orfeu
Poesia
Vinícius de Moraes
Abstract in Portuguese
Os mitos devolvem aos homens os seus próprios conflitos; como metáforas, eles "desempenham sua função de falar" aos "níveis profundos do ser humano". Com o correr do tempo, essas figuras de linguagem podem ir perdendo a capacidade de serem absorvidas, mas os artistas, "de acordo com suas disciplinas e artes", fazem-nas emergir "do contexto contemporâneo da experiência". Partindo dessas premissas, foram feitas e em seguida confrontadas as análises dos poemas "Legado" e "Canto órfico", de Carlos Drummond de Andrade; da peça,"Orfeu da Conceição: Uma tragédia carioca" de Vinícius de Moraes e dos dois filmes baseados nela: Orfeu negro, de Marcel Camus e Orfeu, de Carlos Diegues. Num primeiro momento, diferenciando-se do Orfeu de Drummond - que se define e define o que vê, mais próximo, talvez, do caráter apolíneo do mito - o Orfeu de Vinícius promove, ou deseja promover a dissolução dionisíaca das diferenças, inclusive sociais, sugerida pela figura do cantor do morro: Orfeu da Conceição; mas, aproximando-nos mais um pouco dessas retomadas, sem que a primeira impressão deixe de existir, podemos observar também a expressão "dionisíaca" do primeiro autor, assim como a expressão "apolínea" do segundo e, comum a estas duas expressões, a crença no valor artístico da poesia e do canto. A presença de Orfeu nos filmes de Marcel Camus e de Carlos Diegues (que, como na peça, atualizam o mito em uma favela, na mesma década da estréia da peça, e quarenta anos depois dela, respectivamente) confirma a capacidade do canto e da arte de transformar a "agonia em elegia", como fizeram Carlos Drummond de Andrade e Vinícius de Moraes.
Title in English
Presences of Orfeu
Keywords in English
Carlos Drummond de Andrade
Orfeu
Poem
Song
Vinícius de Moraes
Abstract in English
Myths are giving back to mankind their own conflicts. As metaphor "they play their role" to talk "to the deep levels of mankind". As time goes by, these language figures can loose their absorption capacity but artists "in accordance with their disciplines and arts" are reviving them "in the contemporary context of experience". Starting from this observation, an analysis and a comparison of the following works are done : "Legado" & "Canto orfico", poems from Carlos Drummond de Andrade, "Orfeu da conceiçao, a Carioca tragedy" from Vinícius de Moraes and two movies "Orfeu Negro" from Marcel Camus & "Orfeu do Carnaval" from Carlos Diegues. The first impression in Vinícius- Orfeo is that he promotes or wants to promote the Dionisyac dissolution of differences suggested by the singer on the "morro": Orfeu da Concecao. This first impression is different in Drummond's Orfeo who defines himself and defines what he sees as closer perhaps to the Apollinic character of the myth. But getting closer to Orfeu's remake one can observe the Drummond Dionisyac expression as well as the Appolinic expression of Vinícius inverting the first impression but keeping in both the ethical feeling in front of the indifferent world to myth and the belief in the value of poetry and songs. The presence of Orfeu in the movies of Marcel Camus and Carlos Diegues which as in the play are bringing up to date the myth in a "favela", during the same decade of the play and forty years later respectively, are confirming the capacity of songs and art to transform "agony in elegy" as Carlos Drummond de Andrade and Vinícius de Moraes did with their works
 
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Publishing Date
2007-10-18
 
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