Bastidores da cena e liminaridade: fragmentos do encontro da imagem com o epigrama

• Ano de defesa: 2022
• Autor(a) principal: Sobreira, Caroline Veras
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Fotoepigramas; Bastidores; Teatro; Fotografia; Liminar
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/71435

This research was triggered by the word-image relationship, presented by Bertolt Brecht's photoepigrams. Present in the work War Primer (1955), such compositions take text (epigram) and image (photography) by the dialectic that is established between them, with a polyphony generated by the quality of confrontation arising therefrom. As dialectics rests on correspondence or contradiction (BENJAMIN, 2006), we briefly covered this existing confrontation between the two media, image and text, to find, in the notion of montage brought by Didi-Huberman (2017), an important procedure for this dissertation. On this track, we give up a historical or chronological development and focus on investigating what unfolds in border encounters. As the main basis for this discussion, Ileana Dieguez's concept of liminality (2011), whose confrontation between two territories suggests that their distinctions and approximations may have blurred limits. In this sense, photography and poetry meet, complement, confront and confuse each other, visiting or unfolding in issues such as memory, self-portrait, corporeity, temporality, expansion and permanence/survival. In this work, the theatrical backstage takes the front of the stage in the protagonism of the theatrical discussion, through an imagery dimension, whose non-fictional character also mixes with the theater itself in spatiality and rituality. Thus, as an autopoietic device (MATURANA, 1997), we resort to authorial photographs, taken by me in theatrical backstage over almost 15 years. Inspired by Brecht, we deliver to the reader some photographs and some poems so that he, in an anachronistic and fragmented game, can compose his photoepigrams. In this same perspective of an open work, the textual structure of this research follows, organized into fragments that can be read out of a closed order, as a literary resource capable of favoring plurality and dialogue, granting autonomy to the parts, which are pieces and are also totalitarian in themselves.