A criação da máscara cênica: desdobramentos de uma pesquisa em artes partindo da confecção até a ação

Abstract

This research addresses procedures for creating the scenic mask and was developed during the master's degree in the Postgraduate Program in Arts at the Federal University of Minas Gerais (PPG Artes UFMG) based on a bibliographic review and artistic processes as a methodology. In addition to the disciplines of the postgraduate program, the processes presented here were developed especially in artistic residencies and public presentations between the years 2022 and 2024. It is characterized as research in the arts (Sanchez, 2013, p.45) in the which interests the development of creative methodologies, the communication of such methodologies between peers and others in a system of “co-disciplines” and the creation of networks between artists, groups and institutions. The work was carried out in a "performative studio" (Braga; Correa, 2022) and began with the making of a mask, the desire to bring it to life and everything that happens between the starting and finishing points. Understanding the mask as an object that covers the face of the acting person and comes to life from the game between revealing and concealing, the processes were developed based on the concepts of double, considered as “true” representation (Artaud, 1993) and “dissimulation” (Bachelard, 1994) and “identities” (Hall, 2009). In this way, we sought to understand factors related to performance and the object that intertwine in the creation of a true mask. That is, a mask that appears alive on stage and is capable of creating a connection with the audience. The processes involved in the act of making the mask live also considered the relationship between the object and the person acting in front of the particular, but not rare, coincidence between whoever acts and who makes the mask. Provoking a reflection on the individual and community based on poetics arising from working with the mask, considered as a “subjectivation device” (Rossin, 2019). Such reflections are presented using images, text and performative writing, reinforcing the relevance of this research as a formal and conceptual proposition for an artistic research on the scenic mask.