Página/Pensamento: processos de criação de histórias em quadrinhos contemporâneas
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Data
2017-09-28
Autores
Silva, Renan Bergo da [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O texto aqui apresentado é resultado de uma pesquisa que procurou fazer uma abordagem antropológica das histórias em quadrinhos, essa conhecida prática expressiva. Para isso, no primeiro capítulo, contextualizei questões mais gerais que orientaram a pesquisa desde seu início até o presente momento, com uma série de readequações neste trajeto. Procurei ferramentas teóricas, na antropologia, em outros campos e nas proposições de críticos de quadrinhos e quadrinistas, que me permitissem tratar os quadrinhos de maneira alargada, em conexão com outras práticas expressivas e sem a necessidade de os abordar por seu viés originário de produto da cultura industrial de massas ou como uma manifestação expressiva menor na hierarquia tradicional das artes consagradas. Em complemento a isso, fiz um levantamento dos desdobramentos contemporâneos, no Brasil e no mundo, de práticas dos quadrinistas e de algumas percepções presentes nos mundos sociais que os englobam. Daí por diante, no segundo e terceiro capítulo, o texto se orienta para tratar do trabalho de campo e da análise de imagens produzidas por dois dos meus interlocutores, Gabriel Góes e Pedro Franz. O trabalho de Góes me deu a oportunidade de versar sobre práticas salientes na criação de seus quadrinhos, mas que compõem também um repertório compartilhado por outros criadores. Tais como a apropriação, a abordagem não canônica do desenho e a busca por efeitos sensoriais nos leitores que não se pautam estritamente pela “recompensa” oferecida por uma narrativa tradicional com começo, meio e fim. Também foi possível traçar algumas considerações sobre a conexão entre a atividade de quadrinista e a própria vida de um autor. Debruçando-me sobre as interlocuções com Pedro Franz e sobre seu trabalho, pude fazer apontamentos sobre a situação contemporânea de embate ou entendimento entre o campo das artes visuais e o dos quadrinhos, um acoplamento entre esses campos é constante no pensamento e na prática desse autor. Como no trabalho de Góes, também foi possível tratar dos diferentes materiais e ferramentas que um quadrinista contemporâneo pode escolher para trabalhar e o impacto dessa escolha no resultado final materializado na página. Também aqui, pudemos discutir as relações entre quadrinhos e outras esferas da atuação que vão além das atividades do desenho e da escrita, para incluir sua circulação e as posições tomadas pelos artistas diante dos desafios sociais a eles colocados. Em síntese, mais uma vez conectamos quadrinhos e diferentes aspectos da vida, nos apoiando na noção — inspirada pelas falas de Franz — de fazer quadrinhos expandido. Através deste percurso, espero ter dado conta de oferecer ao leitor um vislumbre das intensas e variadas atividades que tomam forma, atualmente, no campo dos quadrinhos.
The text presented here is the result of a research that sought to make an anthropological approach to comics, this well known expressive practice. For this, in the first chapter, I contextualized more general questions that guided the research from its beginning to the present moment, with a series of adjustments in this path. I looked for theoretical tools in anthropology, in other fields and in the propositions of comics artists and comic book critics that would allow me to treat them in a broad way, in connection with other expressive practices and without the need to approach them for their original bias as the product of industrial mass culture or as a minor expressive manifestation, in the traditional hierarchy of consecrated arts. In addition to this, I surveyed the contemporary developments, in Brazil and in the world, in practices of comics artists and in some perceptions presented in the social worlds that encompasses them. From then on, in the second and third chapters, the text focuses on the fieldwork and analysis of images produced by two of my interlocutors, Gabriel Góes and Pedro Franz. The work of Góes gave me the opportunity to talk about salient practices on his comics’ creation, but which also compose a repertoire shared by other creators. Such as appropriation, the non-canonical approach to drawing, and the search for sensory effects in readers who are not strictly guided by the “reward” offered by a traditional narrative with beginning, middle, and end. It was also possible to draw some considerations on the connection between the activity of a comics artist and the life of an author himself. Leaning on the dialogues with Pedro Franz and on his work, I was able to make notes on the contemporary situation of conflict or understanding between the field of the visual arts and the field of comics, a constant coupling in the thought and practice of this author. As in Góes’ work, it was also possible to deal with the different materials and tools that a contemporary comics artist can choose to work with and the impact of that choice on the final result materialized on the page. Here too, we were able to discuss the relationships between comics and other spheres of performance that go beyond the activities of drawing and writing, to include their circulation and the positions taken by the artists in the face of the social challenges placed upon them. In short, once again we connect comics and different aspects of life, relying on the notion — inspired by Franz’s lines — of “expanded making comics”. Through this path, I hope to have offered to readers a glimpse of the intense and varied activities that are currently taking shape in the field of comics.
The text presented here is the result of a research that sought to make an anthropological approach to comics, this well known expressive practice. For this, in the first chapter, I contextualized more general questions that guided the research from its beginning to the present moment, with a series of adjustments in this path. I looked for theoretical tools in anthropology, in other fields and in the propositions of comics artists and comic book critics that would allow me to treat them in a broad way, in connection with other expressive practices and without the need to approach them for their original bias as the product of industrial mass culture or as a minor expressive manifestation, in the traditional hierarchy of consecrated arts. In addition to this, I surveyed the contemporary developments, in Brazil and in the world, in practices of comics artists and in some perceptions presented in the social worlds that encompasses them. From then on, in the second and third chapters, the text focuses on the fieldwork and analysis of images produced by two of my interlocutors, Gabriel Góes and Pedro Franz. The work of Góes gave me the opportunity to talk about salient practices on his comics’ creation, but which also compose a repertoire shared by other creators. Such as appropriation, the non-canonical approach to drawing, and the search for sensory effects in readers who are not strictly guided by the “reward” offered by a traditional narrative with beginning, middle, and end. It was also possible to draw some considerations on the connection between the activity of a comics artist and the life of an author himself. Leaning on the dialogues with Pedro Franz and on his work, I was able to make notes on the contemporary situation of conflict or understanding between the field of the visual arts and the field of comics, a constant coupling in the thought and practice of this author. As in Góes’ work, it was also possible to deal with the different materials and tools that a contemporary comics artist can choose to work with and the impact of that choice on the final result materialized on the page. Here too, we were able to discuss the relationships between comics and other spheres of performance that go beyond the activities of drawing and writing, to include their circulation and the positions taken by the artists in the face of the social challenges placed upon them. In short, once again we connect comics and different aspects of life, relying on the notion — inspired by Franz’s lines — of “expanded making comics”. Through this path, I hope to have offered to readers a glimpse of the intense and varied activities that are currently taking shape in the field of comics.
Descrição
Palavras-chave
Histórias em quadrinhos, Antropologia das formas expressivas, Antropologia da arte, Antropologia da imagem