Psicoses Interpretativas: por novas (des)construções e performances do repertório brasileiro para violão

Abstract

The present artistic-research aims to rethink the role of the performer as a mediator of meaning. Trying to escape from canonical practices, this thesis seeks to problematize some concepts and give back to the classical guitarist, and to other instrumentalists of "Western art music", the agency and ability to make decisions about which repertoire to approach, how to approach and which methodologies to adopt. Believing in the negative impact of the adoption of canonical models in the reception of Brazilian repertoire, an analysis of the exotic "canonical function" to which the Brazilian guitar repertoire was relegated and an interpretation of the classical guitarists' participation in establishing this function will also be developed. This part also aims to develop the concept of stereotype addressed in Castellon (2017). Finally, three case studies will be exposed that seek to develop interpretations that do not fit within canonical practices and that have interdisciplinary approaches. This thesis dialogues with various areas of knowledge such as Interdisciplinary Studies in Performance (Schechner 2013; Taylor 2007), literary criticism (Bhabha 2014) art history (Huberman 2015), psychoanalysis (Kehl 2018) as well as musicology (Cook 2013; Taruskin 1996) and other artistic research (Assis 2018; Assis 2018; Chiantore 2017).