14 ‘Silence! Fado is about to be sung’
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Anthony De Melo
Abstract
This chapter examines the representation of fado in the comédia à portuguesa, where this song style became a generic element during the 1930s and 1940s. Viewed textually, fado is integrated into the narrative, albeit loosely, and is a key signifier of community and tradition, as well as being recognised for its musical ability to express the melancholia of saudade. The chapter begins by offering a brief introduction to fado, with particular reference to the music's evocation of saudade. Thereafter, the focus shifts to the influence of the teatro de revista, the Portuguese equivalent of music-hall or vaudeville entertainment, both on the comédia films and on fado. Finally, it analyses the position of fado as a signifier of community and as the ' canção nacional' (national song) within this cinematic tradition.
Abstract
This chapter examines the representation of fado in the comédia à portuguesa, where this song style became a generic element during the 1930s and 1940s. Viewed textually, fado is integrated into the narrative, albeit loosely, and is a key signifier of community and tradition, as well as being recognised for its musical ability to express the melancholia of saudade. The chapter begins by offering a brief introduction to fado, with particular reference to the music's evocation of saudade. Thereafter, the focus shifts to the influence of the teatro de revista, the Portuguese equivalent of music-hall or vaudeville entertainment, both on the comédia films and on fado. Finally, it analyses the position of fado as a signifier of community and as the ' canção nacional' (national song) within this cinematic tradition.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures vii
- Contributors ix
- Acknowledgements xvi
- Introduction 1
- 1 Singing of dubious desire 17
- 2 Voicing gender 30
- 3 Bien pagá 51
- 4 El otro lado de la cama 66
- 5 On the function of punk aesthetics in Salto al vacío and Historias del Kronen 83
- 6 Mobile soundscapes in the quinqui film 98
- 7 Song-shaped cinema 114
- 8 Travelling song 134
- 9 Sound moves 151
- 10 The Afro-Cuban soundscape of Mexico City 167
- 11 Blues traveller 189
- 12 Dancing in the dark 206
- 13 Re-making Frida Kahlo through song in Frida 220
- 14 ‘Silence! Fado is about to be sung’ 235
- 15 Sounds from Brazil 249
- 16 Soundtrack to roguery 264
- 17 The Brazilian chanchada’s musical moments and the performance of identity 283
- 18 Orpheus in Babylon 298
- Index 315
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures vii
- Contributors ix
- Acknowledgements xvi
- Introduction 1
- 1 Singing of dubious desire 17
- 2 Voicing gender 30
- 3 Bien pagá 51
- 4 El otro lado de la cama 66
- 5 On the function of punk aesthetics in Salto al vacío and Historias del Kronen 83
- 6 Mobile soundscapes in the quinqui film 98
- 7 Song-shaped cinema 114
- 8 Travelling song 134
- 9 Sound moves 151
- 10 The Afro-Cuban soundscape of Mexico City 167
- 11 Blues traveller 189
- 12 Dancing in the dark 206
- 13 Re-making Frida Kahlo through song in Frida 220
- 14 ‘Silence! Fado is about to be sung’ 235
- 15 Sounds from Brazil 249
- 16 Soundtrack to roguery 264
- 17 The Brazilian chanchada’s musical moments and the performance of identity 283
- 18 Orpheus in Babylon 298
- Index 315
