Cravelhas reguladoras: um procedimento psicofísico direcionado à formação do violinista

Abstract

This research proposes the achievement of methodological processual ways in order to improve the learning, development and practice of the violinist, considering its constant formation and willingness to performative circumstances, when understood by event referent to musical execution towards the spectators. Suggests, at rush, illustrative analogies of the state of the performer musician defined in metaphorized stages, which syntesis, entitled Cravelhas Reguladoras (turning pegs), is conceived as the processual tool of integral relevance of the other elements linked together and comprehended in the tetrahedon figure. In this sense, the turning pegs go towards the general goal of incursion, whatever is to investigate the procedures aimed at the aforementioned search for a psychophysical potency on the scene, integrating the musician’s organism on it’s psychophysical properties. The methodology mixed three main procedures: literature’s revision embracing the musical and theatrical language, using the term psychophysicality and the concept of “recurrent principles” of Eugenio Barba; self-report of violinist experience and as student during the psychophysical training with the purpose of domaining the scenic presentification; case study with semi-structured interviews with Music Bachelor’s students in Belém do Pará with violin habilitation. In this narrative stage, specific points were substantially answered before the questions about the need of a violinist’s preparation, enabling it to a musical performance without blockades. The investigation has the theorical support of David Roland (2001), Sonia Ray (2015), Barry Green (1987) e Eugenio Barba (1991).