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Authors
Advisor(s)
Abstract(s)
A performance de longa duração Gatilho: encenação de autorretratos de
violência sobre o sexo masculino é um processo de estudo do cruzamento entre a
fotografia e o teatro. A exposição da encenação - desde a caracterização e interpretação
de personagens, ao disparo da máquina fotográfica e respetiva projeção dos autorretratos
- aborda questões sobre a comunicação que uma fotografia encenada pode gerar. A morte
pela fotografia, defendida por Roland Barthes, é associada à performance numa
perspetiva de passagem de tempo e de transformação do ator nas narrativas apresentadas
sobre o homem como vítima de violência. A fotografia - seja ela encarada como registo
fiel de uma identidade ou como manipulação do rosto de um ator através da maquilhagem
- cria o dilema que François Soulages defende ao afirmar que qualquer fotografia é
encenada, dado que qualquer tipo de fotografia tem um enquadramento artístico estudado
para o efeito pretendido, podendo, ainda, somar-se-lhe uma pose, ou seja, uma
construção, qual personagem de teatro, por parte de quem é fotografado. Por fim, a
fotografia como objeto de reflexão sobre as narrativas sugeridas, através da proposta de
Susan Sontag, reflete-se na contemplação dos autorretratos de Nan Goldin e Cindy
Shermam.
Pretende-se dissertar - com base nas obras dos autores supracitados e aplicando a
ideia de distanciamento que advém de práticas brechtianas, juntamente com a conceção
de construção de personagem da pedagogia de João Brites - sobre um plano de ação de
transformação de uma sociedade a partir da violência no sexo masculino. A performance
Gatilho centra-se na tentativa de mitigar uma herança patriarcal através do jogo cénico
no cruzamento entre performance, teatro e fotografia.
ABSTRACT - The long-term performance Gatilho: staging self-portraits of male-aimed violence is a reflection on the intersection between photography and theater. The exhibition of the staging, from the costume, make-up and interpretation of characters to the shooting of the camera and respective projection of self-portraits, addresses questions about the communication that a staged photograph can generate. The death by photography theorized by Roland Barthes is associated with performance according to the perspective of the passage of time and the transformation of the actor in the narratives presented about man as a victim of violence. Photography, whether seen as a faithful record of an identity or as manipulation of an actor's face through make-up, creates the dilemma that François Soulages identifies when he states that any photograph is staged, given that any type of photograph has a studied artistic framing for the intended effect, with the possibility of adding a pose; that is, a construction, like a theater character, by the person who is being photographed. Finally, photography as an object of reflection on the suggested narratives, through Susan Sontag's proposal, is reflected in the contemplation of the self-portraits by Nan Goldin and Cindy Sherman. Based on the works by the aforementioned authors and applying the idea of distancing that comes from Brechtian practices, together with the conception of character construction present in João Brites' pedagogy, this work aims at reflecting on an action plan for the transformation of society through male violence. The performance Gatilho focuses on the attempt to mitigate patriarchal heritage through the scenic interplay among performance, theater and photography.
ABSTRACT - The long-term performance Gatilho: staging self-portraits of male-aimed violence is a reflection on the intersection between photography and theater. The exhibition of the staging, from the costume, make-up and interpretation of characters to the shooting of the camera and respective projection of self-portraits, addresses questions about the communication that a staged photograph can generate. The death by photography theorized by Roland Barthes is associated with performance according to the perspective of the passage of time and the transformation of the actor in the narratives presented about man as a victim of violence. Photography, whether seen as a faithful record of an identity or as manipulation of an actor's face through make-up, creates the dilemma that François Soulages identifies when he states that any photograph is staged, given that any type of photograph has a studied artistic framing for the intended effect, with the possibility of adding a pose; that is, a construction, like a theater character, by the person who is being photographed. Finally, photography as an object of reflection on the suggested narratives, through Susan Sontag's proposal, is reflected in the contemplation of the self-portraits by Nan Goldin and Cindy Sherman. Based on the works by the aforementioned authors and applying the idea of distancing that comes from Brechtian practices, together with the conception of character construction present in João Brites' pedagogy, this work aims at reflecting on an action plan for the transformation of society through male violence. The performance Gatilho focuses on the attempt to mitigate patriarchal heritage through the scenic interplay among performance, theater and photography.
Description
Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas
Keywords
Fotografia Encenação Violência Masculino Performance Photography Staging Violence Male Performance
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema