{"id":9977,"date":"2009-03-19T16:09:04","date_gmt":"2009-03-19T19:09:04","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9977&lang=pt-br"},"modified":"2009-03-20T10:39:23","modified_gmt":"2009-03-20T13:39:23","slug":"dez-dicas-para-dar-um-bom-nome-ao-seu-espetaculo","status":"publish","type":"post","link":"https:\/\/idanca.net\/dez-dicas-para-dar-um-bom-nome-ao-seu-espetaculo\/","title":{"rendered":"Dez dicas para dar um bom nome ao seu espet\u00e1culo | Ten tips for a good show title"},"content":{"rendered":"

Diante da oficializa\u00e7\u00e3o do acordo ortogr\u00e1fico e da escassez de bons nomes de espet\u00e1culos na cena contempor\u00e2nea brasileira, achei que seria uma boa oportunidade para pensar em como s\u00e3o elaborados e grafados os t\u00edtulos de nossas pe\u00e7as. Com essa preocupa\u00e7\u00e3o, procurei esbo\u00e7ar algumas orienta\u00e7\u00f5es simples, mas que, acredito, podem ajudar bastante na hora de escolher. Essas dicas n\u00e3o servem apenas para espet\u00e1culos, mas tamb\u00e9m podem ser adaptadas a performances, interven\u00e7\u00f5es, instala\u00e7\u00f5es, al\u00e9m de congressos, encontros, mostras e festivais. Veja:<\/span><\/p>\n

1. Evite t\u00edtulos cheios de pontos, par\u00eanteses, h\u00edfens, colchetes, ou coisas desse tipo. N\u00e3o pode: (In)body<\/em>, Ex.pe.ri.men.to<\/em>, Corp[o]rea[l]<\/em> etc. N\u00e3o \u00e9 genial, n\u00e3o agrada o p\u00fablico, n\u00e3o melhora o trabalho e complica a vida do pobre jornalista que redige a coitada da agenda cultural. Tamb\u00e9m n\u00e3o \u00e9 indicado mesclar indiscriminadamente caixa alta e baixa (por exemplo, eXpeRiMenTO iNcorp\u00d3reO<\/em>), ou ainda utilizar qualquer sinal gr\u00e1fico que n\u00e3o seja letra, pontua\u00e7\u00e3o ou acento.<\/span><\/p>\n

2. N\u00e3o use a palavra “corpo”, que <\/em>est\u00e1 para nome de espet\u00e1culo assim como “<\/em>atualmente” <\/em>para in\u00edcio de reda\u00e7\u00e3o de vestibular. Se fizer muita falta, pode substituir por “porco”, o que tornar\u00e1 o seu produto cultural mais atraente a qualquer p\u00fablico que se deseje atingir.<\/span><\/p>\n

3. Nomes em ingl\u00eas devem ser igualmente evitados. Se for muito necess\u00e1rio, traduza, ou mescle ingl\u00eas e outros idiomas. O melhor mesmo \u00e9 portugu\u00eas. Se quiser que a sua pe\u00e7a tenha abrang\u00eancia internacional, lembre-se de que hoje um nome italiano ou espanhol \u00e9 visto com muito mais simpatia. Se tiver algum car\u00e1ter \u00e9tnico, procure usar iorub\u00e1 ou bantu.<\/span><\/p>\n

4. O nome n\u00e3o precisa explicar ou sintetizar o que a pessoa vai assistir. O nome j\u00e1 faz parte da pe\u00e7a e, quase sempre, \u00e9 bem mais importante. Tudo depende dele. \u00c9 a primeira coisa que o espectador v\u00ea, e em muitos casos, a \u00fanica da qual se lembra depois.<\/span><\/p>\n

5. Evite refer\u00eancias aos recentes avan\u00e7os tecnol\u00f3gicos. A n\u00e3o ser em casos muito espec\u00edficos, n\u00e3o devem constar na nomenclatura (e de prefer\u00eancia nem no trabalho) termos como “digitais”, “virtuais”, “midi\u00e1ticos”, “hologr\u00e1ficos” – principalmente se estiverem no plural. Ali\u00e1s, o plural deve sempre ser usado com bastante parcim\u00f4nia.<\/span><\/p>\n

6. N\u00e3o empregue, exceto por ironia, palavras reconhecidamente de uso po\u00e9tico, tais como: “tempestade”, “et\u00e9reo”, “olhar”, “doce”, “efl\u00faveo”, “transl\u00facido”, “fogueira”, “crepitar”, “sinuoso”, “sutil” etc.<\/span><\/p>\n

7. Alguma gracinha pode ser bem-vinda, desde que seja boa.<\/span><\/p>\n

8. N\u00e3o s\u00e3o recomend\u00e1veis refer\u00eancias a tempo e espa\u00e7o, qualquer rela\u00e7\u00e3o entre os dois, qualquer rela\u00e7\u00e3o entre os dois e qualquer outra coisa. N\u00e3o pode: Espa\u00e7os expandidos<\/em>, Tempos coe(x)istentes<\/em>, (N\u00e3o)-lugares ex(p)andidos<\/em>, E(x)pa(ss)os-Temp(os)<\/em>, e por a\u00ed vai. Substantivos como “<\/em>territ\u00f3rio”, assim como outros que remetem a essa ideia (por exemplo, “mapa”, “trajet\u00f3ria”, “trajeto”), ainda ser\u00e3o aceitos nos pr\u00f3ximos dois ou tr\u00eas anos. Por\u00e9m, se n\u00e3o quiser ter o trabalho de mudar o nome de seu espet\u00e1culo brevemente, evite-os desde agora. Nunca se sabe por quanto tempo ser\u00e1 preciso apresentar a mesma pe\u00e7a.<\/span><\/p>\n

9. Ao usar um t\u00edtulo muito longo, procure imaginar como o seu trabalho ser\u00e1 chamado no dia-a-dia. Digamos que voc\u00ea, com muito esfor\u00e7o, chega a um nome de que gosta, por exemplo, Corpo frito em ber\u00e7o de r\u00facula com pir\u00e3o de baiacu<\/em>. Considere que, na pr\u00e1tica, seu espet\u00e1culo ser\u00e1 chamado de Corpo<\/em> – termo que, como j\u00e1 vimos, deve ser evitado.<\/span><\/p>\n

10. Se n\u00e3o for poss\u00edvel encontrar um nome que agrade at\u00e9 a hora de escrever o release para imprensa, um recurso interessante \u00e9 escolher aleatoriamente uma frase de algum livro do Bukowski. Outra coisa que pode funcionar \u00e9 abrir ao acaso livros de arqueologia, engenharia el\u00e9trica, mec\u00e2nica de autom\u00f3veis etc. Se n\u00e3o souber manusear ou n\u00e3o dispuser de livros, \u00e9 poss\u00edvel usar “bukowski”, “engenharia”, “autom\u00f3veis” como termos de pesquisa no Google[1].<\/span><\/p>\n

No mais, \u00e9 importante dizer que a escolha do t\u00edtulo \u00e9 t\u00e3o importante quanto ensaiar, produzir, apresentar. Um bom t\u00edtulo n\u00e3o favorece apenas o seu trabalho, mas tamb\u00e9m ajuda a embelezar os roteiros culturais de nosso pa\u00eds. Portanto, escolha com responsabilidade.<\/span><\/p>\n

[1] Eu mesmo fiz a experi\u00eancia, pesquisando esses termos em conjunto. Cheguei a excelentes resultados logo nas primeiras p\u00e1ginas. Alguns exemplos: “Uma tecnologia barata e limpa”, “Charles em falta”, “Bukowski<\/em> estava errado: lavo lou\u00e7a”, “Coquetel”, “A arte da engana\u00e7\u00e3o em termos t\u00e9cnicos”, “O Jo\u00e3o Gilberto aquele filho da puta”, “V\u00e1rias coisas que n\u00e3o sei fazer na vida”, “La maquina de follar (106\u00a0views)”.<\/span><\/p>\n

Given the institutionalization of the Portuguese language ortographic agreement and the scarcity of good names for shows in the Brazilian contemporary scene, I thought it would a good opportunity to think about how the titles of our pieces are elaborated and spelled. With that in mind, I tried to outline some orientations that are simple, but I believe can help a lot when it comes to choosing a name. These tips are good not only for shows, but can also be adapted for performances, interventions, installations, besides congress, meetings, showcases and festivals. Check it out:<\/span><\/p>\n

1. \tAvoid titles filled with dots, parenthesis, hyphens, brackets, or anything of the kind. Not good: (In)body, Ex.pe.ri.men.to<\/em>, Corp[o]rea[l]<\/em>, etc. It\u00b4s not brilliant, it doesn\u00b4t please the audience, it doesn\u00b4t improve the work and it complicates the life of the poor journalist who edits the pitiful cultural guide. It\u00b4s also not recommended to mix small and capital letters at random (for example eXpeRiMenTO,<\/em> iNcorp\u00d3reO<\/em>) or to use any graphic sign that is not a letter, punctuation sign or accents.<\/span><\/p>\n

2. \tDo not use the word \u201ccorpo\u201d (body in Portuguese), which used for a show titles is just like \u201cnowadays\u201d used in the beginning of an essay in exams for getting into a University. If you really cannot live without it, you should replace it with \u201cporco\u201d (pig in Portuguese), which will make your cultural product a lot more attractive to any audience you wish to reach.<\/span><\/p>\n

3.\tTitles in English should also be avoided. If it\u00b4s really necessary, translate it or mix English with other languages. But Portuguese is really best. In case you want your pieced to have international reach, remember that Italian or Spanish are seen with a lot more sympathy. If there is any ethnical quality, try to use Ioruba or Bantu. <\/span><\/p>\n

4. \tThe title doesn\u00b4t have to explain or sum up what the person is going to watch. The title is already part of the play and most often it\u00b4s a lot more important. Everything depends on it. It\u00b4s the first thing the spectator sees and in many cases the last thing he\u00b4ll remember afterwards.<\/span><\/p>\n

5.\tAvoid references to recent technological developments. Unless in very specific cases the following should not appear in the name (and not even in the piece): digital, virtual, media, holographic \u2013 especially if they are used in plural. By the way, plural should be used with parsimony.<\/span><\/p>\n

6.\tExcept in cases of irony, don\u00b4t use words that are recognized for their poetic use, such as: “tempest”, “ethereal”, “glance”, “sweet”, “translucent”, “bonfire”, “crepitate”, “winding”, “subtle”, etc.<\/span><\/p>\n

7. \tAny joke may be welcome, as long as it\u00b4s a good one. <\/span><\/p>\n

8.\tReferences to time and space are not advisable, neither is any relation between the two and anything else. Not good: Espa\u00e7os expandidos, Tempos coe(x)istentes, (N\u00e3o)-lugares ex(p)andidos, E(x)pa(ss)os-Temp(os) <\/em>and so on. Nouns like territory, as well as others that refer to that idea (for example, map, trajectory, path), are still going be accepted within the next two or three years. However, if you don\u00b4t want to change your show\u2019s name soon, you should already avoid them. You never know for how you\u00b4ll have to perform the same piece. <\/span><\/p>\n

9. When using a long title, try to imagine how your work is going called daily. Let\u00b4s say you find a name you like after much effort, like, for instance, Corpo frito em ber\u00e7o de r\u00facula com pir\u00e3o de baiacu<\/em>. Take it as a given that your piece is actually going to be called Corpo<\/em> \u2013 a term that should be avoided, as we\u00b4ve seen before. <\/span><\/p>\n

10. If it\u00b4s not possible to find a name that pleases you by time you have to send out releases to the press, an interesting resource is to randomly choose some sentence out of some “Bukowski” book. Another thing that might work is to open archeology, electric engineering or automobile mechanic books at random. If you don\u00b4t know how to handle or don\u00b4t have access to books, it\u00b4s possible to use the terms \u201cbukowski\u201d, engineering, automobile in a Google[1] search. <\/span><\/p>\n

Finally, it\u00b4s important to say that the title choice is as important as rehearsing, producing, performing. A good title doesn\u00b4t favor only your work, but also helps make our country\u00b4s cultural guides prettier. Therefore, choose responsibly.<\/span><\/p>\n

[1] I did this experience myself, searching these terms together. I reached some excellent results right in the first pages. Some examples: \u201cClean and cheap technology\u201d, \u201cNo more Charles\u201d, \u201cBukowski was wrong: I do the dishes\u201d, \u201cCocktail\u201d, \u201cThe art of conning using technical terms\u201d, \u201cJo\u00e3o Gilberto that son of a bitch\u201d, \u201cMany things I don\u00b4t know how to do in life\u201d, \u201cLa maquina de follar (106 views)\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Com seu estilo ir\u00f4nico, o colunista do idan\u00e7a Gustavo Bitencourt escreve sobre a import\u00e2ncia de se escolher bem o nome de um espet\u00e1culo e d\u00e1 10 dicas para se chegar a um t\u00edtulo criativo e que ‘funcione’. Leia o texto e nos diga se voc\u00ea concorda com ele. <\/span>
\nWith his usual ironic style, idan\u00e7a columnist Gustavo Bitencourt writes about the importance of a show title and gives ten tips for a creative title that ‘works’. 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