O nome próprio "Chico Buarque": um discurso de resistência

Abstract

The 1964’s Civil-Military coup in Brazil constituted a severe and abrupt stoppage in the construction of a democracy process and therefore produced the silencing of many voices. As from january 24th of 1968 every cultural and artistic production begins to be regulated by the AI-5. In that context, any kind of expression against the State was forbidden. The meanings were censored, silenced, excluded, so that they would not move the obvious. The censorship was installed in the daily life of the Brazilian people during these dictatorial times when, despite it all, discursive productions resisted in the art and music fields. During that time art and politics walked together, tracing a period of explicit politicization, demonstrating the sensitive ethos of art. It is not possible to hold off the relationship between art versus politics, once that art in itself has a political strand when questioning the reality and at the same time covers the language sensibility, transformative in it’s tendency inherent to it’s essence. Art provides elements for the political action. It is in that scenario that Chico Buarque comes up as part of a generation of MPB (Popular Brazilian Music) composers which embraced a place of speech more popular: the songs started to transform themselves into an engaged policy, in the heart of the university movements. Chico Buarque’s political voice demonstrated a revolutionary element in the artistic production of that historical moment. Chico, even not willing to, creates and produces resistance music, in the attempt of dribbling the censorship when changes his name, using an heteronym: Julinho de Adelaide. With this strategy some lyrics got through the censorship without bigger problems. The songs by Chico Buarque were forbidden only because carried his signature. Todau Buarque’s sons are rescued and updated in the discursive memory in the stage of Brazilian electoral disputes. The discursive memory is identified causing a movement of meanings typical of Chico Buarque de Hollanda’s production.? In this doctorate degree research the main goal is to analyze the meaning effects of the proper name “Chico Buarque”. The corpus of this investigation has a precise cutout: songs of the dictatorship times. The theoretical methodological fundamentation which guides this work is the Pêcheutian Speech Analysis, sustained in the historical materialism articulated with the Lacanian psychoanalysis. Chico Buarque sang the resistance yesterday. Chico Buarque sings the resistance today because his songs are to be read nowadays because they are expression of a protest that renews in the Brazil of nowadays, for it is a speech event. Therefore, Michel Pêcheux teaches us that it is possible to understand the resistance speech as a result of the domination process in the class society. Where there is domination, the resistance is ipso facto. Chico Buarque’s songs resurface as protest songs to mark an historical moment of fight, of refuse to the conservative speech. His songs are rescued and resumed today because, as Marx teaches us, there is the sense of rescuing a war cry to update a past.