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monothematic editions dedicated to spreading unpublished articles from academic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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OPEN CALL TO PUBLISHING IN MÓIN-MÓIN MAGAZINE
V. 1 N. 22, release in
july 2020:
Censorship and transgression in Puppet Theater
Censorship and transgression in Puppet Theater
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Submissions open until MARCH 31th 2020
Puppet Theatre (including other means methods of animation such
as puppets, shadows, masks and objects) has historically shown its political
dimension through social criticism, reports of injustices and satires on
abusive power; it has non-conformity in its verve,
manifesting itself transgressively. The very existence of an animated figure
proclaims itself subversive under the inanimate condition of the matter that establishes
it. At the same time this artistic expression can serve broadcasting ideas and
manipulating opinions, it can also presents as being opposition and resistance
against the dominating power and ideology.
In view of its power to communicate
and instigate free thinking, how has society behaved towards the Puppet Theatre?
How has history accepted or silenced it?
The intolerance against the alternatives
that this theatrical form proposes to the established reality has precedents
that can noticed not only in the prohibition of traditional theater groups and
burning of shadow theater figures during the cultural revolution in China
(1966-1976)[1], the interdictions
on traditional arts in 1990 by the Islamic Party of Malasia during communist revolution, or the destruction of wayang
statues in Purwakarta in 2016[2]. Among other examples, it can also be
spotted in the elimination of cultural politics and spaces for its development.
Censorship has many strategies: an official decree, a gradual ideological
construction that transforms specific themes, characters and artistic
expressions in taboo, nor even, by considering its own art as "minor”, causing prejudices shown in the face of the artistic
expression.
Locating this theme, how much can we say
about Latin America, and in general, about the post-colonial outlying
territories, called “developing” or “emerging markets” regions? Which are the
boarders in which the puppet transits? How are they marginalized? In which way
does the satire and contesting laughter threaten
the status quo? How does this art act
in the social fabric and what effects can it cause?
Why can it be dangerous for authorities
and what kind of repressions (censorship, taboo, discrimination) does it suffer? Lack
of recognition and trouble on presenting in official and public spaces may
happen due to the prejudice? In how many ways
(and in which ones) has control and silencing molded the Puppet Theater's shape
(dramaturgy, techniques and themes)?
We invite authors, in this edition, not
only to set these and other questions about repression and censorship, but also
consider about cultural resistance associated with Puppet Theater practice.
Historical or empirical investigations, theoretical essays, unpublished
translations, reports of experiences, analysis of creative processes and
interviews can be presented.
[1] ROLLINS, Annie Katsura. Quand la politique agit dans
l’ombre: des pratiques traditionnelles aux logiques commerciales modernes, le
cas du théâtre d’ombres chinois. In: FLEURY, Raphaèle; SERMON, Julie. Marionnettes et pouvoir: censure,
propagandes, résistences. Montpellier: Deuxième Époque, 2019, p.175.
[2] FOLEY, Kathy. Les Wali (Saint
Musulmans) réduits au silence: Les marionettes wayang en Indonésie et en Malasie. In: FLEURY, Raphaèle; SERMON,
Julie. Marionnettes et pouvoir:
censure, propagandes, résistences. Montpellier:
Deuxième Époque, 2019, p.165
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OPEN CALL TO PUBLISHING IN MÓIN-MÓIN MAGAZINE
V. 2, No.
23, release in december 2020:
The performance of women in Puppet Theater
The performance of women in Puppet Theater
_____________________________________________
Submissions open until JUNE 30th 2020
By accepting the hypotheses which
indicates the beginning of Puppet Theater in Ancient rites, we find in
archeological archives of this time period, an infinity of figures representing
women’s bodies. In a post-Roman-domination-eastern world, it is supposed that
the French word "marionnette"
(puppet) comes from petit Marie (little Mary)[1]. Hieratic or profane representations in
diversified forms, techniques and materials, sculptural figures, articulated or
not – even if they don't enable us to read the women in their time' given use –
these figures suggest many roles assigned to women in their corresponding
societies and times.
Although feminine characters
permeate the universe of Popular Puppet Theater, why does the work of those who
animate has still mainly been done by men in many countries (c.f. Karaghiozis, Wayang, Mamulengo)? By consequence, where and how can we find women
inserted in the Puppet Theater field? How have they been subverting this order?
While in family upbringing and culture,
education, construction, dramaturgy, or in directing and producing, women have
been present in different levels of visibility in all processes related to
Puppet Theater. Who are these women? In what way have they impacted teaching,
presenting, and promote Puppetry art evolution and cohesion?
Who are the women working in Puppet
Theater today? Which women have Puppet Theater been representing, and how?
Which are the challenges assumed by female puppeteers? What situations cross
the diverse bodies of women in puppetry scene in times of presence technologies and the
fighting for rights over the body itself?
Undoubtedly, by talking about women we
come across a great amount of subjects and themes. However, this call is a
proposition to gather papers focused in women’s experiences and processes and participation
as cause and subject in Puppet Theater’s production. What resistance and challenges do women fight
for in this professional field? Which spaces are maintained or conquered?
With
respect to women’s fight worldwide, requesting for gender justice, safety,
health and equity, how has Puppet Theater handled or negotiated with
these matters? Which articulations, representations and poetics emerge from
productions made by and for women?
Several other concerns overflow apart from
the presented ones, and allow a variety of unfolding possible ways in which researches
on the work of uncountable professionals in Puppet Theater are concerned in
articulating gender issues.
We hope these provocations instigate
reflection upon different perspectives regarding this theme.
Historical or empirical investigations, theoretical essays, unpublished
translations, reports of experiences, analysis of creative processes and
interviews can be submitted.
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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:
http://revistas.udesc.br/index.php/moin/user/register
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:
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.
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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