Um Axexê for Tropicália
Keywords: Documentary. Screenplay. Tropicália. Memory. Axexê.
ABSTRACT
How a documentary screenplay can concentrate affection, memory, spectacularity and performance, by dealing with an historical event, such as the last show of two Brazilians seminal artists, Gilberto Gil and Caetano Veloso, held in July 20 and 21 1969, right before both of them are obliged to leave Brazil for an exile inflicted by the repressive apparatus of the dictatorship existent in Brazil (1964 to 1985)? This question guides what this thesis intends to carry out, proposing a creational-research that results in the writing of the first treatment of a screenplay for the documentary film Um Axexê for Tropicália. In this way, this study aims to auscultate points of convergence between dramatic / dramaturgical and audiovisual narratives, in order to build a performative / theatrical working sheet, in the form of a script for performative documentary, capable to deal with affection and allegory, tensioning boundaries between performance and reality; memory and fabulation; documentary and fiction; fiction and reality; performance and staging; documentary and staging; documentary and reality; and reality and staging.
For the central understandings of this study, we will consider a reflective panorama constituted by the theoretical views of the following authors: Henri Bergson, David Lapoujade, Bill Nichols, Cláudio Bezerra, Sérgio Puccini, Martin Eslin, Friedrich Nietzsche, Eduardo Leone and Jacques Aumont.