Call for papers, 2018

MÓIN-MÓIN – REVISTA DE ESTUDOS
SOBRE TEATRO DE FORMAS ANIMADAS

The Móin-Móin Journal (ISSN 18091385 / e-ISSN 2595-0347) is a study journal about Puppet Theatre that represents one of the actions for the Professional Qualification on the Theatre of Santa Catarina Extension Program, from the University of the State of Santa Catarina – UDESC. Publishing, since 2005, monothematic editions dedicated to spreading unpublished articles from academic researches about the distinct languages of Puppet Theatre, as well as reflections e creative process from renowned artists.
Following below are the information for the call to publishing in 2018, and also about the continuous flow of the receiving of texts and general information to submission.
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v. 1, n.19, 2018 – Voice and speech on Puppetry Arts
Through the scope of animation theatre, the quality of the voice and speech has an important role. As well as the movement and shape, the voice and speech composes the elementary means to trigger the imagination of autonomy of the object. The voice and speech, as limits to be transposed, can present themselves, as a state of permanence in the world, capable of pour feelings trough their intangibility. But what kind of voice and speech are those, since the puppet body is an inhuman body, is it weird? What type of sounds, articulated or not by the actor/actress, can represent, express the idea of these fictional bodies in scene? And also, what consequences the repression and/or the suppression of the voice and speech can evoke on a play?
In this issue of the Journal, we invite authors to reflect and write about some questions, such as:
What is the voice of animated objects? How to prepare the voice of an actor/actress? How to conceive the voice and the speech of an animated character? How to give voice to matter? Which are the new technological resources and their uses for multiplying, distorting and amplifying the voice of an actor/actress? Which are the benefits and their points of conflict? Which are the similarities and differences between the uses of voice through microphones and live, or pre-recorded? What represents each one of these and their usages on the scene? How does the voice of a storyteller can animate objects? In which ways the animated objects can potentiate the acting of the voice and speech of the actor/actress? Which features can the verbal deformations and onomatopoeia put on an animated object? What are the effects produced on a play? Which spectrum the voice can embrace, what it can mean, express, represent? What are the diverse dimensions that a puppet’s voice can assume through various cultures? What is the range of voice and speech as means to animation theatre? The forms of popular theatre use their own resources or special ones? What are the possible processes of creating musical theatre utilizing the puppetry arts?
We hope our provocations incite not only the questions raised here, but also bring new inquiries and questions in different perspectives within the proposed theme.
The authors can submit theoretical researches or empirical, theoretical essays, unpublished translations, experienced narratives, analysis of creative process and interviews.
Deadline to submission of papers: 01 of June 2018
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v. 2, n. 20 – Puppetry theatre on the classroom.
Puppet theatre, by its playful characteristics, and for creating the possibility to expand the experience by connecting many knowledge areas, is an effective practice in the classroom, enabling children, young adults and adults to play with the relations between matter, body and signs to the expression of ideas and feelings. The access to knowledge (and to self-knowledge), through means of aesthetic experience in multiple artistic languages, puts the puppetry arts as an important tool that is multi-disciplinary. We observe that this art was and continues to be present in many educative actions inside the schools (formal spaces) and outside schools as well (non-formal spaces).
In this issue, we bring the theme to investigation, such as of a historical nature, as, for instance, the analysis of experiences that happened in Brazil, on the Escolinha de Arte, in 1948 (Rio de Janeiro), or focused on the study of contemporary pedagogical practices of the graduating or postgraduate students, or even, the investigations of reflexive nature about the content and procedures of teachers, both in schools and universities as inside theatre groups, in Brazil or other countries.
We bring some questions focused on the theme to provoke the authors:
Which are the everyday practices on Animation Theatre (masks, puppets, objects and shadows) in a Basic Education School, and what are the particulars and results that come from these practices?
In which ways the dramatic game and the theatric game use animation theatre on schools? How does the appropriation of these languages by the students occur? Which didactic-pedagogic process is used to teaching-learning? How does the staging on schools occur and which are their relations to an objective-result/middle-end mindset? What is the history of education on Animation Theatre on schools? How teachers who teach this art, or about it are educated? What benefits and risks can happen in the artistic-teaching practice? What heritage we have received of those teaching practices? How does the pedagogy of puppetry face its own multiplicity of shapes? What perspectives can we imagine to the teaching-learning of Animation Theater on schools, given its contemporary artistic characteristics?
We hope our provocations incite not only the questions raised here, but also bring new inquiries and questions in different perspectives within the proposed theme, with a critic approach of educative theatrical experiences that reflect about the contributions of the Theatre of Animation and mainly about their philosophical and educative aspects.
The authors can submit theoretical researches or empirical, theoretical essays, unpublished translations, experienced narratives, analysis of creative process and interviews.
Deadline to submission of papers: 01 of August 2018
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Continuous flow of texts
To send texts that do not fit the themes previously mentioned it’s possible to do so at any time, since the platform accepts the submission of texts in continuous flow. The texts that do not refer to one of the themes may be published in another issue of the journal, following the relevancy to the theme.
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General Information
The authors can submit articles, reports, essays, reviews, interviews and translations.
The journal has the policy of anonymous evaluation by pairs to any submitted text.
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Guidelines for submission of papers

To publish in the Móin-Móin Journal the interested must first register him/herself as an author on the link below:
publicação e utiliza o sistema duplo-cego de revisão por pares. O texto
pode ser enviado em português, espanhol, inglês ou francês e, no caso de textos em francês e inglês, eles serão publicados em sua língua original com tradução para o português.
http://www.revistas.udesc.br.
Em seguida deverá submeter o artigo na plataforma SEER no link da MÓIN-MÓIN – REVISTA DE ESTUDOS SOBRE TEATRO DE FORMAS ANIMADAS
Then, the person must submit the article on the SEER platform on the link of MÓIN-MÓIN – REVISTA DE ESTUDOS SOBRE TEATRO DE FORMAS ANIMADAS
http://www.revistas.udesc.br/index.php/moin
Submissions must agree to the journal patterns and must be posted directly on the submission system to continue the process of general evaluation of the article.
Lembramos que o periódico não cobra taxas de submissão, nem de
We emphasized that the Journal do not charge fees to submitting, or publishing and it uses the blind system of revisions by pairs. The text can be send in Portuguese, Spanish, English or French and, in case of texts in French and English, they will be published in their original languages and a translation to Portuguese.
For more information, visit the site:
Articles must be sent according to the author’s guidelines, on the link below:

Contact: revistamoinmoinudesc@gmail.com



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