He announced that of his Time King tour, the last one he intends to do, at least in large dimensions. The show is a musical, visual and, why not say, spiritual dazzle.
columnist of this Sheetwas one of the first to draw attention to the fact that we witnessed one. “What happens on stage is not just a show. It is as if they were dressed by the cinema and, from this merger, sprouts a third form of.”
Perhaps this word has already been coined by Richard Wagner (1813-1883), “Gesamtkunstwerk” or “work of total art”, aesthetic concept that refers to the conjugation of various artistic forms in the same work. Wagner thought this idea from the Greek tragedy and the opera, which he intended to renew.
Gil’s great contemporary opera gathers a successful junction of music, cinema, photography, graphic, in an admirable work of artistic direction by Rafael Dragaud, Scenography by Daniela Thomas and research by Julia Schnoor.
“Music in person,” as I have heard it, the composer and tropicalist singer takes a vast tour of his work in 30 hits-which 30, if necessary, could be added.
Gil is an Orixá of what has already been called black, the talented and fascinating, cauldron of creation and elaboration of an Afro-Brazilian culture with a striking diversity of roots, which opens for syncretism, miscegenation and modernity.
To talk to Gil you don’t have to be alone, nor if you find it hideous. It is necessary to find it in this complexity of mergers, juxtapositions, conflicts and dialecticals, this attempt to synthesize a cultural and artistic grammar that is Brazilian by the accent, but an international language.
In the myriad of themes, references and clashes that his work crashes in the musical, poetic and political plans, gain relief in the show issues related to the mystical and religious universe, highlighted by questions about time, finitude and transcendence.
Gil faces from the first chords of his career with the universe, which promised better thing, but does not deliver here to Earth what the devalidates expect in his ‘procession’ – land scoring to question the conformist bias of popular religiosity. He often told us about this contradictory god who gives a saint to every Bahian girl, but who also gave us the first deducted Indian and the first pillory.
Therefore, it is still, walking with faith, that it is not only in heaven, is also in the woman, in the blade of a dagger, in the light and darkness. The Christian God is also in Chalice, the song against the compound with the 1970s.
As in a certain Brazilian amalgam, Gil’s deities do not concentrate and subordinate a monotheistic nucleus, although the father is always there; They are a congregation of entities that lower the ecumenical altar of their musical celebration. From African Matrix to Eastern and Western spiritualities, besides nature –Afinal we are also from the bush, such as the duck and the lion.
It is not difficult to talk to Gil, just have mind and body open to the balm of your goddess music.
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