O presente do passado: deslocamentos do feminino (e do masculino) no drama e cinema contemporâneos do lado de cá e do lado de lá do Atlântico

Abstract

In the works we analyzed, interpreted and compared, we looked for presenting how, from the notion of an aesthetics of knowledge and the politics of aesthetics (RANCIÈRE, 2006,2009), both A vingança de uma mulher (2012), by the Portuguese filmmaker Rita Azevedo Gomes, and the performance text Hysteria (2001), by XIX Group of theater, return to the life of women in specific contexts from the nineteenth century displacing hegemonic/traditional way of the theater and cinema while intend the perception about the relation between past and present to formulate a dissension about the position of the female (and male). That way, in a similar gesture, we returned to some key-points of the theater and cinema history, to comprehend in a relational way the association methods between the fictional and the historic, the sensible and the intelligible and the verisimilitude illusion and the truthful in order to verify the ways in which theatrical and cinematographic forms handle with these aspects according to respond to determined context and questions. That way, we intend to show how such relations are originally articulated in the context of the Ancient Greece, it having as background the passage of the Athenian tragedy to the conception of a poetic, thought by Aristotle from the platonic prescriptions (EASTERLING, 2013; DUPONT, 2001, 2017); we observed equally how the influence of the historic and social changes triggered in the transition between feudal society and capitalism, which pertains to the production methods, circulation and receiving in the theater and in visual arts, triggered transformations about the representative logic in the period that precedes the birth of the cinema (EASTERLING, 2013; DUPONT, 2001, 2017); further, concerning of the theatrical and cinematographic modernity, we briefly approached works that make divert the classics poetics (AUMONT, 2008; RANCIÈRE, 2018). At last, from the thoughts of Kant and Schiller about the aesthetic experience, in dialogue with the conception of a political aesthetic by Jacques Rancière, we searched for establishing a common place, that in place of close the theater and cinema in distinct territory, allowed us to find, in the analogy between the representation methods and aesthetic effects of the two works, a “common language” able to describe how they both structure and subvert that what represents.