Reflexões acerca de uma dramaturgia da "Cara pintada"

Abstract

Amid the many researches that are being done about the scenography and technologies of the scene, is it still possible to think of a “painted face dramaturgy”? The reflections we make around a painted face dramaturgy are based on the Performing Arts area, as a theatrical study aligned with the perspective of a theater that understands the image and the body beyond the understanding we had in modernity, or that is, we understand the body as perception and meaning and the image as a device and a presence. To do so, we make use of perception, along the lines of phenomenology (Merleau-Ponty, 1996); of experience as a method of knowledge production (Larossa, 2002) and of dramaturgy as a fabric of theatricality (Pavis, 1999; 2003; 2017), from a semiology (Barthes, 1987; 2007) of the contemporary world. This is because we recognize “face painting” as a phenomenon that goes beyond the comprehension of makeup as scene technology or visual apparatus or scenographic technique or even aesthetics of the plastic composition of the character. The present work considers the "painted face" one of the most significant moments of contemporary theatrical creation, presenting it as a possible solution to the problem of makeup as a poetic of the scene. We started by investigating the act of painting as a subject's poetics to discuss the importance of face painting as a human civilizing element. To this end, we organized a brief "cosmogony" about the narratives they construct through their paintings to construct meanings in the society in which they are inserted, through a "language system" organized in the "figure" through painting. Starting there we look for an investigation of the possibility of face painting and it's uses in theatrical scene experience as a dramaturgical phenomenon. Therefor we try to talk about stage make up we talk about makeup in its broadest sense as a theatricality manifestation and we do it by reporting and dialoguing with plastic composition phenomenons from actants' practical expericences. We believe in the painted face as a cyclical conceptual synthesis of mise-en-scène: drama + action + time / space + image + perception + reading + commotion + understanding + new drama. Thus, in the hall of the new dramaturgies, the painted face can be understood as a theatrical poetic of the scene.