Teatros de um só instante: O vivo e o não-vivo na mise en scène fotográfica de Bernard Faucon

• Autor(a) principal: Andrade, Patrícia Mourão de
• Data de Publicação: 2007
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/4905
• topic: Bernard Faucon; fotografia; imagem; mise en scène; verossimilhança; Faucon, Bernard -- 1950- -- Les grandes vacances; Teatros -- Cenografia e cenarios; Televisao -- Cenografia e cenarios; Manequins; Fotografia; Bernard Faucon; staged photography; image; mise en scène; verisimilitude; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

Between 1976 and 1981 Bernard Faucon staged window mannequins of children for photographic mise en scènes. These mise en scènes present celluloid dummies with glass eyes arranged in scenes constructed to appear natural and familiar (such as outdoor promenades, games and picnics) and belong to the series called Les Grandes Vacances. In some images, and disturbing the fictions, a living child is seem naked among the manequins. This research focus on the relation between verisimilitude and inverisimilitude as found between the living child and the non-living ones in this series. It also deals with the relation between the experience of time and the photographic gaze. As far as methodology is concerned, our study is based in authors such as Roland Barthes, Maurice Blanchot e Sigmund Freud, who approach, each of them in his own field of reaserch, the connections of the gaze with life and death, as well as with verisimilitude and inverisimilitude. The conclusions indicate that, in these photographs, life and truth are not to be searched in reality, for they ermerge from the non-living and the inverisimilitude. It is the mannequin, rather than the living body, that concentrates the power of guiding the gaze to places where it can experience true affections and fictionalize possible lifes. The true and living body is impossible