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O espaço poético sertanejo e as figuras performáticas em Corpo de Baile de Guimarães Rosa
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Este trabalho apresenta uma leitura crítica das novelas de Corpo de Baile (1956) de João
Guimarães Rosa, com o foco nas figuras dos contadores de estórias e dos cantadores de
cantigas e suas respectivas performances. Pretende-se ressaltar que, numa espécie de mise
en abyme, estórias são contadas dentro da estória, enfatizando, portanto, os eventos
dessas performances no momento da enunciação. Verifica-se que em Corpo de Baile a
performance das figuras dos contadores de estórias e dos cantores gera uma reflexão
sobre a relação entre escrita e oralidade, bem como uma reflexão sobre a representação de
uma forma de oralidade encenada. Assim, questionamentos sobre as experimentações
formais nos levam a equacionar as escolhas de Rosa na elaboração da sua obra em forma
de ciclo. Tanto sua forma assume novas variantes, quanto parece estar em constante
prolongamento. Pretende-se destacar que Guimarães Rosa, numa espécie de romanfleuve,
constrói as narrativas de Corpo de Baile por meio de uma estrutura harmônica
composta de textos que se relacionam entre si pelo transbordamento de personagens que
transitam entre as novelas, sustentado pelos signos da musicalidade e do recomeço.
Conclui-se que Corpo de Baile apresenta uma esfera composicional que visa uma
construção de um espaço artístico cujas performances são ao mesmo tempo uma espécie
de ferramenta narrativa e de reflexão sobre aspectos da criação poética.
This work presents a critical reading of Corpo de Baile (1956) by João Guimarães Rosa, focusing on the performing figures and their respective performances. The aim is to point out that the stories in Corpo de Baile, in a kind of mise en abyme, presents stories that are articulated inside the main story, emphasizing, as a result, the events of these performances at the time of enunciation. It seems that in Corpo de Baile the performances of the storytellers and the singers produce a reflection about the relationship between writing and oral speech, as well as a reflection on the representation of a kind of staged orality. In this manner, questions about formal experiences lead us to evaluate Rosa's strategies in organize his work in the form of cycle. In the same way that the narratives seem to very in their format, the narratives also seem to be in constant extension. This work seeks to highlight that Guimarães Rosa, by applying some techniques of the genre roman-fleuve, constructs the narratives of Corpo de Baile as a harmonic structure integrating texts that relate to each other by overflowing characters that travel through the novels, based on the signs of musicality and repetition. In this way, Corpo de Baile elaborates a kind of compositional place that aims to provide an artistic space in which performances are at the same time a kind of narrative tool and a reflection of the poetic aspects of creation.
This work presents a critical reading of Corpo de Baile (1956) by João Guimarães Rosa, focusing on the performing figures and their respective performances. The aim is to point out that the stories in Corpo de Baile, in a kind of mise en abyme, presents stories that are articulated inside the main story, emphasizing, as a result, the events of these performances at the time of enunciation. It seems that in Corpo de Baile the performances of the storytellers and the singers produce a reflection about the relationship between writing and oral speech, as well as a reflection on the representation of a kind of staged orality. In this manner, questions about formal experiences lead us to evaluate Rosa's strategies in organize his work in the form of cycle. In the same way that the narratives seem to very in their format, the narratives also seem to be in constant extension. This work seeks to highlight that Guimarães Rosa, by applying some techniques of the genre roman-fleuve, constructs the narratives of Corpo de Baile as a harmonic structure integrating texts that relate to each other by overflowing characters that travel through the novels, based on the signs of musicality and repetition. In this way, Corpo de Baile elaborates a kind of compositional place that aims to provide an artistic space in which performances are at the same time a kind of narrative tool and a reflection of the poetic aspects of creation.
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Rosa, João Guimarães, 1908-1967. Corpo de baile Rosa, João Guimarães, 1908-1967 - Personagens Novelas brasileiras - séc.20 - História e crítica Personagens literárias Teses de mestrado - 2016