Quem não se comunica se trumbica: o poder comunicacional da poética brasileira dos anos 1970/80

Abstract

Literary poetry criticism consecrated bookish poetic production (despite its formal and thematic diversity) as the most representative of the Brazilian lyrical scene of the 1970s/1980s, leaving several other types of poems, equally representative, relegated to the background. There are, for example, a large number of visual poems from the 70s and 80s that are simply ignored. When we examine these two decades more closely, we realize the volume and relevance of the production that could be present in anthologies, studies, essays, research and books referring to that period. A good part, certainly the majority, of poetry researchers from the 1970s/80s define the profile of the Rio poet of that time as being that of a cultured, prepared artist, great knowledge of poetic techniques, rigorous with his writing, capricious with his conduct. your work. In my dissertation, entitled Urban verbalist poetry: poetics and politics in Rio de Janeiro in the 1980s, I demonstrated that there are a huge number of poets – despite the value criteria privileged by critics – who largely escape this profile proposed by the critics in question, starting because it is poetry that is mainly oral and written (not exclusively, but mainly) with performances in public spaces in mind. This concern with the best possible communicability of poetry with the general public, using more modern languages, more connected to the time and society of the time, did not appear in the 1970s/1980s. Contrary to this, we realize that these reflections and debates began, on Brazilian soil, in the 1950s, with a group of poets led by João Cabral de Melo Neto and others, at the same time that Concrete Poetry began to develop its paideuma and his poetics aimed at modernizing Brazilian poetic languages, which, according to all these artists, would have suffered, after the avant-garde of Modernism of 22, a communicational regression promoted by the so-called “Generation of 45”. In this thesis, my proposal is to carry forward, with more vigor and scope, the review of this current Brazilian “canon” from the 1970s/80s, so that, based on other criteria and values, we can affirm and legitimize the place of this other species poetry – oral, communicative, performative, popular and political. At the end of it all, my goal will be to be able to gather and publish these texts in a first anthology of Brazilian Urban Verbalist Poetry 1970/80