Two case studies about the text-music-image relationship in diametrically opposed performance atmospheres by Brazilian singer Elis Regina, in the songs Ladeira da Preguiça by Gilberto Gil and Atrás da porta by Chico Buarque and Francis Hime. Departing from an adaptation of the music-movement correspondence proposed by HAGA (2008), the analyses of historical video recordings (REGINA e GIL, 1973; REGINA, BUARQUE e HIME, 1973; REGINA, BUARQUE e HIME, 1973/2006) and lead sheets (GIL, 1992; BUARQUE e HIME, 1999) reveal the interaction between textual, musical and stage performatic elements. Based on these interactions, Elis Regina plans ahead and consolidates her stage gestures in a structured and planned manner, contrasting or reinforcing different emotional moods.
interpretation by Elis Regina; text-music-image relationship; musical performance and body gesture; Brazilian popular music; analysis of musical multimedia
