THE PERFORMER MARIA BETHANIA

AN ANALYSIS IN THE LIGHT OF THE DIALECTICAL THEORY OF LANGUAGE

Abstract

The present article aims to thematize brasilidade’s elements evidenced by the artist Maria Bethânia. Based on that, I understand the work of Bethania from the perspective of the genre song, referring it to hybrid, multicultural and signal analysis, to approach the Bakhtinian theory, in order to elucidate to what extent Bethânia stands out as the subject of the enunciation with multiple identities, including Brasilidade, the regional, the poetic process, the syncretic and the self, theorized here from an autobiographical analysis. To ratify this vision, we use the understanding of the word as an ideological sign, which refracts and reflects the reality and, in this case, is used by the performer Bethânia under the scope of gestuality, intonation, phonemes, of the living utterance and which are materialized in the artistic practice of the performer and glimpsed under Bethania as enunciative manifestations and signices, in which the antithesis is present in her artistic creation, that is, the sacred/profane, popular/erudite, among others. The analysis undertaken in this work is based on the theoretical-methodological principles of the dialogic theory of language derived from Mikhail Bakhtin and the Circle in which I choose as focus two basic concepts: author-person, and author-creator, - in this way, I try to theorize and correlate, to what extent Bethania draws upon such concepts, even at an unconscious level, for the realization of her artistic whole and, more than that, for an ethical act of the I-for-myself and the I-for-the-others.