Experimentação na construção de duas performances de Ressonâncias, peça para piano de Marisa Rezende

Uma reflexão a partir do entendimento da obra musical enquanto território

Abstract

From the understanding of the musical work as a territory, from which is possible to establish escape routes through performative decisions and the positioning of the performer as a creative agent, new possibilities open to musical performance. In this article, two versions of a performative approach in the piano piece Ressonâncias by Marisa Rezende will be presented, which were developed through processes of deterritorialization and declassification. These processes are related to decisions about phrasing, structure of the piece and musical texture, in a way that the performer acted consciously to interfere in these elements. The methodology was based in two performances of the piece: the first one had the focus in the manipulation of the creation of resonance in the piano; the second one searched for different and contrary possibilities, shaping a new structure and new sonorities. Even in a subtle way, the nomadic way of thought (the one that escapes from the territory) allowed possibilities of experimentation non-envisaged before, as in relation to the musical structure and texture, for example, that showed itself as elements passible of morphological conformation and non-pre-determined by the score.