Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
DATE: 14/09/2021
TIME: 14:00
LOCAL: Microsoft Teams

The poet and the typographer: Poesia Livre [Free Poetry], Chuvas de Poesia [Poetry Rains], and Guilherme Mansur's experimentations on Instagram.


Barrocobeat; Chuvas de Poesia; artist books; Poesia Livre; Small publishers; Independent Publications; Typography.

PAGES: 218
BIG AREA: Lingüística, Letras e Artes
AREA: Letras

In this thesis, we propose to analyze Guilherme Mansur’s first editorial project, Poesia Livre, forged by the stamp Fundo de Ouro Preto Tipografia. We will also scrutinize how these project elements will become part of the literary-poetic experimentation pervaded by performance or happenings, called Chuvas de Poesia. We will show Mansur’s adaptation to the digital environment by analyzing photographic experiments published on Instagram from 2017 up to now. We will also analyze the editorial characteristics of Poesia Livre, whose production began in 1977 enduring up to 1985. This publication flourishes as a proposal hooked up in the “Marginal Generation” (Geração Marginal), poetic resistance work of a generation of well-known Brazilian poets. Furthermore, peculiar editorial features distinguish it from most printed works done without rigor by most poets’ movements. Poesia Livre owns its title by a freedom evocation and a wordplay to embrace the most diverse forms of poetry, as can be seen by the historical context of the launching. The youth of its creator, Mansur, then aged 19, created a unique publication with a befitting rhythm, totaling sixteen copies, inspiring several other similar publications and creating a network of connections connecting poets and artists throughout Brazil. In the 1990s Guilherme Mansur started the poetic performances Chuvas de Poesia, which mixes editing and performance, consisting of a radicalization of the assumptions that began with Poesia Livre, elevating the concept of “free” and “freedom” to an even greater power. These performances still take place in the 21st century and unfold into other types of artistic manifestations. We will see some of Mansur’s experiments on Instagram, work with a digital interface which he reinterprets works developed throughout his career, or even creates photographic series as a virtual museum for his photographic collection. Our main goal is analyzing the editorial processes of these three projects, distinguishing their singularities, and also analyzing part of the poetic cartography in Poesia Livre. We also aim to show how the productions presented are connected to a mix of various languages modes: typography, visual arts, performance, and, in his poetry, bits and pieces of the concrete poetics, the poetic movement he is included. Mansur adds baroque elements, giving rise to unique poetics that we call “Barrocobeat” poetry. Poesia Livre presents several poetic productions made by Mansur. In its nine years of existence, Poesia Livre left indelible marks on Mansur’s 

editing work, which was improved, evolving as the typographer-editor-poet (among other denominations) enters our contemporaneity. In addition to analyzing this role played as an editor, the study focuses on the characteristics of Mansur’s poetry, as a poet who, being an excellent typographer, through typographic language, manages to print unique characteristics inherent to his poetics built with movable type, in which the word occupies the axis of the composition of his creations and is always at the center of the work.

Externa à Instituição - CELINA FIGUEIREDO LAGE - UEMG
Externo à Instituição - MÁRIO ALEX ROSA
Notícia cadastrada em: 30/08/2021 21:49
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