A música sertaneja no circo-teatro

notas sobre a trajetória artística de José Fortuna (1950-1980)

Abstract

This article aims to disclose the results of my PhD research and the reflections of its final product, the thesis text, defended by the Graduate Program of the Federal University of Uberlândia in March 2018. Continuing the theoretics and methodologicspropositions, this work is also presented as a possibility to extend the discussions whose focus is on the relationship between country music and circus-theater, especially the artistic production of José Fortuna (1923-1983) in his experience with the troupe Os Maracanãs in São Paulo between the years 1950-1980. In order to problematize the complexity of the relationships that are built between country music and circus-theater in the light of a context full of sociocultural transformations, marked by the idealization and materialization of the national-developmental project from the 1950s, we focus on the practices of this country music artist. As a subject who experiences the rural exodus and shares the difficulties of whole families leaving the countryside living in the peripheral neighborhoods of large cities, composing a mass of poor workers clustered in marginal neighborhoods, José Fortuna produced a repertoire that no longer dualized countryside and City, instead as a result of his time, his artistic production was presented as a way of re-rooting, of connecting to the field even being distant from it, but not only, with it she experimented with the new social transformations, enabling different combinations of rural music as the new themes of urban life, pinned by the artistic language of theatrical melodramas performed on the circus stage.