O canto em Linda Wise: ação imaginativa e interpretação

Abstract

in the observation of the existing dissociation between voice/body and body/psyche, often present in the vocal work with singers both in Singing as in Speech Therapy. Such fact may be an issue for the formation and career of singers who aspire to a vocal art that expresses singularity. The researcher is a professional singer with a career of 22 years and has studied with actor, singer and stage director Linda Wise, whose perspective is circumscribed within the listening, observation and revelation of the expressive and artistic potential that may unveil each individual’s imaginative action. This research has as a base for its structure the changes achieved through the work with Linda Wise. Objective: describe and analyze Professor Linda Wise’s interpretation work in the workshop “The art of interpretation” having the tutor’s own vision as perspective, this researcher’s experience, and that of the other participating subjects. Method: it is an ethnographic case study approved by the university’s ethics committee and formally agreed upon by all participating subjects. The data collection for this dissertation has three approaches: a semi structured interview with Linda Wise comprehending her formation, her vision on voice, her workshop practice, the participation of the body in the work with singers, the place of emotion and the question of the interpreter; the researcher’s personal testimony as a participant in the workshop and, as a third source of data, the answers obtained in pre and post workshop questionnaires by 12 volunteer subjects (10 women and 2 men), first-timers between 23 to 54 years of age. In the investigation before the workshop, the subjects were characterized in relation to: occupation, education, vocal complaint (or none), and duration of singing studies. After the workshop, the questions focused on the possible changes and participants’ perceptions about: breathing, body, voice, singing and interpretation. Only one question appears in both questionnaires: the self-assessment, with scores from 0 to 10, on their own breathing, body awareness, musical ear/perception, vocalization, articulation, artistic expression, emotion, resonance and interpretation. The chapter “The art of interpretation” is a testimony of this researcher about the workshop over her participation in six editions. It is permeated by thematic categories, structured by statements in the interview with Linda Wise. Results: In the self-assessment chart, which compares pre and post aspects of body awareness, resonance and emotion, 83.33% (10 subjects) achieved higher scores post workshop. In regard to interpretation, subjects emphasized, after the workshop, a closer connection between the singing and the body, more attention to the meaning and context of the lyrics, greater musical perception concerning the melody and its flow, access to the emotion through the body process, the surfacing of emotion from places never explored before, new self-perception territories, and the unveiling of hidden paths. Final considerations: the workshop “The art of interpretation” is a proposal that reveals the voice and the creative capacity of the subjects from the listening to themselves and to the others, having the body work as a driving force and a protagonist of this body-voice unity. Linda Wise thus suggests a paradigm break in the work with singers by investigating the ways traced by a voice in search of its singularity associated with the bio-psyche condition. Such approach provided the workshop participants with an alignment between their expressivity and their musical ear, the proprioception and the imaginative action regarding the interpretation