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<\/a><\/p>\nThis week, the SciELO in Perspective blog will present a special program dedicated to the only journal exclusively focused on the performing arts in the SciELO Brazil Collection: the <\/span>Revista Brasileira de Estudos da Presen\u00e7a<\/span><\/i>. A reference in its field of expertise, both in Brazil and in Latin America, the journal publishes original research results in two languages in open access. The relationship with SciELO plays an important role in the journal, which has been implementing <\/span>Open Science<\/span><\/i> practices with its encouragement, opening an unknown universe in the field of performing arts publications in Brazil.\u00a0<\/span><\/p>\n This Special Week proposes a dive into the universe of Performing Arts research based on the observation of a high-quality journal, its themes, its transformations, its functioning and position in the face of pressing social issues.\u00a0\u00a0<\/span><\/p>\n The opening of the Special Week discusses the notion of \u201cpresence\u201d, which gives the journal its name. Although fundamental and very present in the universe of the performing arts, this notion is not unambiguous and, oddly enough, this is perhaps one of its most interesting attributes. The <\/span>press release<\/span><\/i> to be released on Tuesday deals precisely with this theme, highlighting issues of the journal that highlight it, such as <\/span>volume 10, issue 1<\/span><\/a>.<\/span><\/p>\n In one of the articles published by the journal on the subject, Gilberto Icle, editor-in-chief and co-founder of the journal, discusses the notion that, according to him, \u201ccomes from an undefined imaginary about acting, about performance\u201d, indicating \u201ca sensation of something that escapes the word, something that doesn\u2019t fit into language\u201d. Indeed, Icle postulates that one cannot speak of the presence itself, since the notion concerns a shared experience, in movement (Icle, 2011, p. 16).\u00a0<\/span><\/p>\n Within the Brazilian university context, which is strongly shaped by the hybridity between theory and practice, in which many researches \u201ctake the researcher’s own artistic work as a locus of investigation\u201d <\/span>(ibid.<\/span><\/i>, p.11), it is pertinent, according to Icle, to approach the field through Presence Studies, since these \u201care circumscribed precisely to the need to think about forms, ways and paths for this type of research\u201d (<\/span>ibid<\/span><\/i>.), encompassing, for example, self-referential productions, in which the researcher proposes a reflection based on his own artistic work \u201cwithout this being an impediment to a supposed scientific objectivity to be pursued\u201d (<\/span>ibid<\/span><\/i>., p. 12).<\/span><\/p>\n \u201cPerhaps presence is not possible for us, human beings\u201d \u2013 Charles Feitosa polemicizes in the video \u201cDialogues with Philosophy and the Media Arts\u201d, which is part of Tuesday’s Special Week post. From the field of Philosophy, the researcher and professor at UNIRIO (Federal University of the State of Rio de Janeiro) problematizes the approach to the notion of presence by the Performing Arts in the article <\/span>Borders between Performing Arts and Philosophy<\/span><\/a> (Feitosa, 2020), published in the 2020 issue <\/span>Performance Philosophy<\/span><\/a>, which he presents, trying not to develop too much, since he makes it clear that the purpose of his video is to wake the curiosity and desire of the Internet user to read his article, as well as the other works published in the thematic issue organized by Laura Cull \u00d3 Maoilearca and Luciana da Costa Dias in partnership with the <\/span>Performance<\/span><\/i> Philosophy<\/span><\/i> network (\u00d3 Maoilearca; Dias, 2020)<\/span><\/p>\n The video is accompanied by the text <\/span>\u201cPresence as a field of research\u201d<\/span>, which provides an overview of the different approaches to the notion of presence throughout the history of the journal. From the first issues entirely dedicated to the topic to subsequent articles, in which the concept is mobilized punctually in analyses of very diverse scenic manifestations, L\u00edgia Souza’s text addresses this thematic transversally throughout the history of the journal, which has already published more than 40 issues in its almost 15 years of uninterrupted activities.<\/span><\/p>\n Image: Revista Brasileira de Estudos da Presen\u00e7a.<\/p><\/div>\n We continue the Special Week program by exploring some of the thematic issues published by the <\/span>Revista Brasileira de Estudos da Presen\u00e7a<\/span><\/i>. This revisit to the journal’s (digital) archive shows the richness of objects, themes, and methodologies that animate the field of research in Performing Arts.\u00a0\u00a0<\/span><\/p>\n The <\/span>issue dedicated to the theme \u201cPerformance and Animated Forms\u201d<\/span><\/a> provides an interesting sample of the variety of objects and approaches within the same theme (Costa, 2022). In a video made especially for release during the Special Week, Rossana Della Costa shows her concern, when editing the thematic issue, to treat theater of animated forms in its diversity, contemplating both traditional popular cultural manifestations and the implications of animated forms in more experimental contemporary aesthetics.\u00a0<\/span><\/p>\n Indeed, the articles issue deal with both aesthetic and pedagogical issues, based on the analysis of diverse objects, ranging from the transvestite presence in <\/span>brincantes<\/span><\/i> performances in the quilombos of Reisado (Oliveira Jr., 2022) to the differences in the reception of a Brazilian animated forms show by national and European audiences (Scrickte <\/span>et al.<\/span><\/i>, 2022), as well as a historical political study on the transformation, during the Nazi regime, of a traditional form of puppet theater in Germany (Alcure, 2022). For the guest editor, these perspectives contribute to the study of this ancient art in Brazil and in the world.\u00a0<\/span><\/p>\n As a complement to the video, Ana Wegner presents a press release about one of the articles in the issue, entitled <\/span>Images as Appearance of the Body: Ilka Scho\u0308nbein\u2019s loving game<\/span><\/a> (D\u2019Abronzo, 2022), which consists of a study on a contemporary approach to theater of animated forms, which allows the notion of presence to be tensioned through the contrast between the human and the inanimate.\u00a0<\/span><\/p>\n Returning to the first thematic issue published by the journal (<\/span>volume 3, issue 1, 2013<\/a>),<\/span> the post on Thursday (September 05), features Tatiana Motta Lima reporting on the importance of the issue, which has become an essential reference for scholars and those interested in the work of Jerzy Grotowski and the Workcenter (Lima, 2013). Invited to curate what was imagined to be \u201ca small thematic issue\u201d (<\/span>ibid<\/span><\/i>., p.6), the author of the then only Brazilian book on the subject (<\/span>idem<\/span><\/i>, 2012) saw the project turn into a large volume, consisting of 16 articles signed by some of the leading researchers on the subject in Brazil and around the world, in addition to 5 reviews, composing \u201ca kind of state of the art on research around the Polish director\u201d, as announced by Gilberto Icle in the opening video of this week’s program.<\/span><\/p>\n More than ten years later, the issue organized by Tatiana Motta Lima is still relevant to the field of Performing Arts research. In a brief consultation of the access statistics, the guest editor comments in the video that, although the issue addresses \u201ca specific artist, who might be of interest to a smaller number of researchers\u201d, it continues to be widely accessed, with some of its texts among the 100 most accessed within the journal.<\/span><\/p>\n The video in the post is accompanied by a text authored by Juliana Coelho, titled \u201cArt as a Vehicle and Jerzy Grotowski’s research for beyond the 20th century\u201d.<\/p>\n To close our program, Celina Alc\u00e2ntara proposes a reflection on the treatment of ethnic-racial and gender issues in the <\/span>Brazilian Journal of Presence Studies<\/span><\/i>, an agenda that she always brought to the journal. This discussion is especially dear to the associate<\/span> editor, not only because it permeates her trajectory as a black woman, but because she assumes the role, within the Institute of Arts of the Federal University of Rio Grande do Sul (UFRGS), of taking the lead in this debate in the face of decisive transformations in the university environment, such as the quota policy and the legal obligation to teach Afro-Brazilian and African culture.\u00a0<\/span><\/p>\n Celina Alc\u00e2ntara proposes an observation of the way in which the approach to this agenda has changed in the journal throughout its history: if, at first, the topic appears \u201cin a slightly more generic way, in quotation marks, in the sense of thinking about how race relations shape the relationship with performance\u201d (as can be seen in the thematic section <\/span>Performance and Ethnic-Racial Relations<\/span><\/a>, volume 7, issue 2, 2017), in a second moment, it is already possible to think about the creative processes of racialized people in academic spaces, for example (according to the approach of the thematic section <\/span>Black Poetics and Contemporary Performing Arts<\/span><\/a>, vol. 12, issue 4, 2022). Celina Alc\u00e2ntara’s full reflection on the subject can be seen in the video of Friday\u2019s post (Sept. 09).<\/span><\/p>\n In addition, Ana Wegner presents the magazine’s first thematic issue on the topic \u2013 \u201cPerformance and Ethnic-Racial Relations\u201d (2017) \u2013, placing it in a broader overview of thematic issues aligned with the principles of diversity, equity, inclusion and accessibility. The panoramic analysis of the issue culminates in an important excerpt from Celina Alc\u00e2ntara’s video in which she assesses the place where we are in relation to this discussion: our difficulties, what we are building and where we intend to go.\u00a0<\/span><\/p>\n Faced with these issues, journals have the prerogative \u2014 or perhaps the duty \u2014 to take a stand. The social function of journals is to make certain debates and authors public and accessible. It is therefore necessary to be aware of the influence of any bias – racist or sexist, for example – in the choice of what (or who) deserves to be published.<\/span><\/p>\n For these and other discussions, follow our program this week on the SciELO in Perspective blog! Our next issues will also bring some innovations to the performing arts research field in Brazil, related to the implementation of some Open Science practices. Don’t miss out! \ud83d\ude09<\/span><\/p>\nThe issue of \u201cpresence\u201d in the Performing Arts field (Tuesday, Sept. 3, 2024)<\/span><\/h3>\n
<\/a>A sample of thematic and methodological diversity in the Performing Arts research (Wednesday, September 4, 2024)<\/span><\/h3>\n
The importance of thematic issues for the state of the art of a topic (Thursday, September 5, 2024)<\/span><\/h3>\n
The positioning of the journal and the social function of the research (Friday, 06\/09)<\/span><\/h3>\n