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Advisor(s)
Abstract(s)
A subjetividade da escolha relaciona-se intrinsecamente com a intenção e o resultado esperado desta junção de
linguagens artísticas que, a serem bem conseguidas, são complementares e até mesmo unas no seu todo e produto
mas que, a não acontecer, pode redundar na simples destruição / destituição de dois universos comunicacionais
e artísticos que se podem separar perfazendo a diminuição da perceção da intencionalidade de qualquer escolha
musical, quer no complexo plano da criação (banda sonora original) quer no plano da simples adaptação musical.
As regras, quando deliberadamente quebradas pela via de uma intencionalidade artística associada podem resultar
em algo de magnifico mas que deverão prevalecer, apenas e só, quando o individuo que decide tecnicamente
sobre esta matéria (independentemente da sua função) saiba, minimamente, a matriz e as regras de uma escolha
como acrescento de algo ao objeto artístico que se quer comum. Mesmo assim, tudo é plausível e justificável se
sustentado por uma intencionalidade artística e objetiva que provoque (ou tente) uma sensação, uma emoção ou
transmitir algo inesperado, improvável ou até mesmo adverso e distinto em termos de linguagem artística das
partes (e / ou entre partes). Mas tudo o que cada espetador, independentemente da sua literacia ou conhecimento
artístico, possa sentir, percecionar ou imaginar podem, como seria espectável, dividir opiniões e por em causa
(nem que no estrito universo da critica teatral ou musical formal) as escolhas ou, até mesmo, aplaudir de pé, uma
escolha ou uma obra dirigida a um momento em particular. A subjetividade na escolha e na aceitação do objeto
ou momento artístico interdisciplinar reina neste reino maravilhoso da arte em que pode ser possível juntar num
universo tudo, o que dois universos podem constituir, dizer, expressar, ou simplesmente transmitir
The choice’s subjectivity is intrinsicallyrelated with the intention and result expected with this artistic languages junction that, being well achieved, are complemental and even one in its whole and product but, if it doesn’t happen, may redound in the simple destruction/distituiton of two comunicational and artistic universes that cam be separated, resulting in the intentions decrease of any musical choice, being in the criation plan complex (original soundtrack), being in the simple adaptation music plan. The rules, when deliberatelybroken by an associated artistic intentionality can result in something magnificent but that should prevail, only and only, when the individual who decides technically on this matter (regardless of its function) knows, minimally, the matrix and the rules of a choice as an addition to something to the artistic object that is common. Even so, everything is plausible and justifiable if it is sustained by an artistic and objective intentionality that provokes (or attempts) a sensation, an emotion or transmits something unexpected, improbable or even adverse and distinct in terms of the artistic language of the parties (and / or between parties). But everything that every spectator, irrespective of his literacy or artistic knowledge, can feel, perceive or imagine can, as it were, be able to share opinions and for question (even in the strict universe of theatrical or musical criticism) the choices or, even, to applaud standing, a choice or a work directed to a particular moment. Subjectivity in the choice and acceptance of the interdisciplinary art object or moment reigns in this marvelous realm of art where it may be possible to bring together in one universe everything, which two universes can constitute, speak, express, or simply convey.
The choice’s subjectivity is intrinsicallyrelated with the intention and result expected with this artistic languages junction that, being well achieved, are complemental and even one in its whole and product but, if it doesn’t happen, may redound in the simple destruction/distituiton of two comunicational and artistic universes that cam be separated, resulting in the intentions decrease of any musical choice, being in the criation plan complex (original soundtrack), being in the simple adaptation music plan. The rules, when deliberatelybroken by an associated artistic intentionality can result in something magnificent but that should prevail, only and only, when the individual who decides technically on this matter (regardless of its function) knows, minimally, the matrix and the rules of a choice as an addition to something to the artistic object that is common. Even so, everything is plausible and justifiable if it is sustained by an artistic and objective intentionality that provokes (or attempts) a sensation, an emotion or transmits something unexpected, improbable or even adverse and distinct in terms of the artistic language of the parties (and / or between parties). But everything that every spectator, irrespective of his literacy or artistic knowledge, can feel, perceive or imagine can, as it were, be able to share opinions and for question (even in the strict universe of theatrical or musical criticism) the choices or, even, to applaud standing, a choice or a work directed to a particular moment. Subjectivity in the choice and acceptance of the interdisciplinary art object or moment reigns in this marvelous realm of art where it may be possible to bring together in one universe everything, which two universes can constitute, speak, express, or simply convey.
Description
Keywords
Banda sonora original Adaptação musical Literacia artística
Pedagogical Context
Citation
Leonido, Levi; Cardoso, Mário; Quixadá, Sefisa; Viana, Rebeca; Morgado, Elsa (2018). The music for theater: from the subjectivity of the choice to the spectator's literacy. European Review of Artistic Studies. ISSN 1647-3558. 9:4, p. 20-29
Publisher
ERAS