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Resumo: Este trabalho trata das relacoes entre o poema-livro “Clorântida”, de Rosalina Marshall, e sua leitura musicada, apresentando-se sob um formato que e em si mesmo condizente com o tema da intermidialidade (CLUVER, 2006; MULLER, 2012). Tal metaestudo delineia-se por meio de um video, que confere a este trabalho o direito imprescritivel de ser teoria exercida enquanto pratica. E nessa imbrica cao entre diferentes tipos de midias e linguagens que se pode tecer uma “critica expandida” (FREITAS; PEREIRA, 2015) como a aqui proposta. A abordagem audiovisual de “Clorântida” entrega ao leitor-espectador a plasticidade sonoroverbal de seus versos, fazendo deste trabalho tambem um “bloco de sensacoes” (DELEUZE; GUATTARI, 2010), situado no limiar entre o debate e a fruicao. E limitrofe tambem a relacao do poema em questao com a lingua, do que pode insurgir a indagacao: “Isto e portugues?” – ao que Marshall talvez responderia: “A harmonia entre passaros e homens e magica e essencial. Na musica, encontramos a protolinguagem que une todos os seres vivos. O poema, como a musica, pode ser tambem isso, essa uniao que transcende a moralidade de todas as gramaticas.” (MARSHALL, 2019). Por essa via, em “Clorântida”, a autora des-dobra a lingua portuguesa, atravessando-a e ultrapassando-a, como uma especie de “gagueira” na escrita (DELEUZE, 2011) que escapa a postura policialesca tentada a desvendar o significado de suas “frases plasticas” (SANTOS; REZENDE, 2011). Tal corporalidade da palavra, inscrita no ritmo sonoro e na materialidade grafica do poema, e potencializada pela leitura em voz alta performada pela poeta (BARTHES, 1973). Palavras-chave: Rosalina Marshall; plasticidade sonoroverbal; intermidialidade; critica expandida. Abstract: This experiment deals with the relationship between the poem-book “Clorântida”, by Rosalina Marshall, and its musical reading, presenting itself in a suitable format to the theme of intermediality (CLUVER, 2006; MULLER, 2012). Such meta-study is delineated through a video, which confers to this experiment the imprescriptible right to be the theory put into practice. In this imbrication among different types of media and languages it can weave a “expanded criticism” (FREITAS; PEREIRA, 2015) as the one proposed here. The audiovisual approach of “Clorântida” gives to the reader-spectator a sonorous-verbal plasticity of its verses, making this experiment also a “set of sensations” (DELEUZE; GUATTARI, 2010), situated on the threshold between the debate and the aesthetic fruition. The relation of the poem in question with the language is also borderline, of which it can be raised the question: “It is Portuguese?” So, to this Marshall might answer: “The harmony among birds and men is magical and essential. In the music, we find the protolanguage that unites all living beings. The poem, as the music, can also be this, the union that transcends the morality of all grammars.” (MARSHALL, 2019). In this way, in “Clorântida”, the author un-folds the Portuguese language, crossing it and surpassing it, as a kind of “stuttering” in writing (DELEUZE, 2011) that escapes the vigilant stance tempted to unravel the meaning of its “plastic sentences” (SANTOS; REZENDE, 2011, p. 20). The aloud reading performed by the poet enhances the corporeality of the word that is inscribed in the sonorous rhythm and graphic materiality of the poem (BARTHES, 1973). Keywords: Rosalina Marshall; sonorous-verbal plasticity; intermediality; expanded criticism.

revista do centro de estudos portugueses

Proposta intermidiática de crítica expandida a partir da plasticidade sonoroverbal de “Clorântida”, de Rosalina Marshall / Intermedial Proposal of Expanded Criticism from the Sonorous-Verbal Plasticity of “Clorântida”, by Rosalina Marshall