Constructing a Theatrical Performance for Three Brazilian Imperial Modinhas by Lino José Nunes (1789-1847)

An auto-ethnographic study of the construction process of a theatrical performance for three imperial modinhas by Brazilian bassist-singer-composer-pedagogue, Lino José Nunes (NUNES, 1984a, 1984b, 1984c) starting with: (1) an analysis of the text-music binomial, examining (2) the theatrical version proposed by the first co-author of this article with the creation of his respective arrangements for voice, double bass and piano (NUNES, 2015a, 2015b, 2015c) to finally reach (3) the staging realization of the voice according to the performance of the second co-author. We discuss the interactions between music and staging in the instances of the primary sources (the original scores of the three modinhas), the resulting secondary sources (the scores of the three scenic-musical arrangements) and their performance (the realization of the arrangements). The analysis, which includes MaPAs (Maps of Audiovisual Performance) and EdiPAs (Audiovisual Performance Editions) (BORÉM, 2016c, 2014. BORÉM; TAGLIANETTI, 2014), considered the use of contrasting emotional atmospheres (RUSSELL, 1980), discrete gestures (facial expressions; EKMAN; FRIESEN, 2003), ampler body movements (head, neck, trunk and limbs; LABAN, 1978), body plans (LABAN, 1978. RENGEL, 2001), props and lighting. The adaptations, solutions and additions, which emerged through a doubly creative performance process (composition and performance), aimed at a more significant communication of the senses in the trinomial text-music-image