Adeus, tenho que partir...: uma leitura de “Bye Bye, Brasil” e “Iracema Voou”, de Chico Buarque
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Tipo
Artigo
Classficação
Nível teórico
Data
2023
Autores
Título do Períodico
Travessias
ISSN
1982-5935
Página(s)/e-location
e31409
Idioma(s)
pt
Fonte
Fonte
Cascavel, PR
17
3
set./dez.
17
3
set./dez.
Coleções
Resumo
A obra musical de Chico Buarque é conhecida pelo caráter interpretativo e crítico do Brasil, desde seu período mais participante das décadas de 1960 e 1970 e hoje, como um cronista arguto das mazelas de nossa sociedade. É possível dizer que em sua obra encontramos uma espécie de síntese das esperanças e desalentos da história recente do Brasil. Nessa perspectiva, esse artigo trabalha duas canções emblemáticas do cancioneiro do compositor carioca: “Bye bye, Brasil” e “Iracema voou”, que buscam interpretar o Brasil, no sentido de desvendar e desmistificar a concepção ufanista, que concebia a nação brasileira como uma pátria paradisíaca, grandiosa e fadada ao sucesso, como se propagou no pensamento romântico em canções de compositores anteriores à sua geração e também no regime militar. Na perspectiva buarquiana o Brasil é cantado de modo a contrapor-se a esse ponto de vista nacionalista ingênuo de seus precursores. Sem distanciar das “coisas do Brasil”, Chico Buarque acompanha as transformações históricas, sociais e culturais do país e nos revela suas desarmonias.
The musical work of Chico Buarque is known for the interpretive and critical character of Brazil, since its most participatory period of the 1960s and 1970s and today, as an astute chronicler of the ills of our society. It is possible to say that in his work we find a kind of synthesis of the hopes and discouragements of the recent history of Brazil. In this perspective, this article works two emblematic songs of the songbook of the carioca composer: “Bye bye, Brasil” and “Iracema voou”, which seek to interpret Brazil, in the sense of unveiling and demystifying the ufanist conception, which conceived the Brazilian nation as a paradisiacal homeland, grandiose and doomed to success, as it propagated in the romantic thought, songs of composers prior to his generation, and also in the military regime. In the Buarchian perspective, Brazil is sung in order to oppose this naïve nationalist point of view of its precursors. Without distancing himself from the “things of Brazil”, Chico Buarque accompanies the historical transformations historical, social and cultural of the country and reveals to us its disharmonies.
The musical work of Chico Buarque is known for the interpretive and critical character of Brazil, since its most participatory period of the 1960s and 1970s and today, as an astute chronicler of the ills of our society. It is possible to say that in his work we find a kind of synthesis of the hopes and discouragements of the recent history of Brazil. In this perspective, this article works two emblematic songs of the songbook of the carioca composer: “Bye bye, Brasil” and “Iracema voou”, which seek to interpret Brazil, in the sense of unveiling and demystifying the ufanist conception, which conceived the Brazilian nation as a paradisiacal homeland, grandiose and doomed to success, as it propagated in the romantic thought, songs of composers prior to his generation, and also in the military regime. In the Buarchian perspective, Brazil is sung in order to oppose this naïve nationalist point of view of its precursors. Without distancing himself from the “things of Brazil”, Chico Buarque accompanies the historical transformations historical, social and cultural of the country and reveals to us its disharmonies.
Descrição
Palavras-chave
Chico Buarque, “Bye bye, Brasil”, “Iracema voou”, Nacionalismo, Chico Buarque, “Bye bye, Brasil”, “Iracema voou”, Nationalism
Citação
CAVALCANTI, Luciano Marcos Dias. Adeus, tenho que partir...: uma leitura de “Bye Bye, Brasil” e “Iracema Voou”, de Chico Buarque. Travessias, Cascavel, PR, v. 17, n. 3, p. e31409, set/dez. 2023. https://doi.org/10.48075/rt.v17i3.31409. Disponível em: https://e-revista.unioeste.br/index.php/travessias/article/view/31409. Acesso em: 2024-01-29