Scenography, Setting and Ethical World in <i>Jogo de Cena</i> [<i>Scene Game</i>]: A Discursive Approach

Mendes, Silma Ramos Coimbra; Souza-e-Silva, Maria Cecília Pérez de

doi:10.1590/2176-4573e54994

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ARTICLES • Bakhtiniana, Rev. Estud. Discurso 17 (3) • Jul-Sep 2022 • https://doi.org/10.1590/2176-4573e54994 copy

Scenography, Setting and Ethical World in Jogo de Cena [Scene Game]: A Discursive Approach

Authorship SCIMAGO INSTITUTIONS RANKINGS

ABSTRACT

Among Eduardo Coutinho’s vast production, the documentary Jogo de cena (2007) stands out and is celebrated as being the centerpiece of the filmmaker's filmography, in which the interviews occupy a central place. The purpose of this article is to reflect upon these interviews, discursively, based on: speech scenes put in perspective and in relation to the aesthetic choices and materiality of the documentary; nature of the interviewer-interviewee relationship, marked by the refusal of an “alleged neutrality” and the production of settings, scenographies, and ethical worlds. For this, we articulated basic concepts of Discourse Analysis, as theorized by Dominique Maingueneau, such as interdiscourse, scenography, setting and discursive ethos. The results demonstrate that it is possible to establish a dialogue between Coutinho’s methodological apparatus and concepts of Discourse Analysis. From a mystical aura of his welcoming silence, the interviewer’s respectful and considerate ethos in relation to the characters' speeches can be inferred.

KEYWORDS:
Discourse Analysis; Documentary; Setting; Scenography; Discursive ethos

Features	Description
Place and time framework	Strict definition of when the film begins and ends.
Suppression of traditional tools	Narration, cutaway, script, plot, camera movement direction, camera presence, director’s movement. Non-diegetic soundtrack. Fixed framing setup.
Minimal definition of the environment	Progressive disappearance of visual elements. Minimalist aesthetic. Few objects from the scene present in the shooting act. Character in interaction with object-images. Black cloth, two chairs. Simple lighting.
Positioning of the filmmaker and of the character	Filmmaker sitting waiting for the character, both with demarcated positions. No movement throughout the scene. The film takes place in this environment, with the character and Coutinho in the same positions. Focus on interviewees’ faces.
Absence of illustration images	Suppression of illustration images as evidence elements. What is being said is not illustrated.
Ethical determinant	Essence of the encounter presided over by a strict ethical stance (what can and cannot be done) regarding the lives of the characters.
Indistinction between fiction and reality	Fiction produces something real and true. One does not try to prove that what is being said is true.
Embodied knowledge	Irruption of the order of the past, experienced not as knowledge, but as embodiment. The speech is not about an idea, it's something incarnated.
Order given by chance	The order of the characters derives from chance, without predetermined places. Life overflows the film.
Incompleteness	Cinema without conclusion. Film without ending.
Co-presence	Encounter resulted from the partnership between who asks and who answers.

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[1] Declaration of Author’s Contribution

Silma Ramos Coimbra Mendes and Maria Cecília Pérez de Souza-e-Silva declare that contributed to the conception and analysis of the intellectual content of approaches developed in the article “Scenography, Setting, and Ethic World in Jogo em cena: A Discursive Approach,” in its structuring, writing, critical review and final approval of the version to be published. They are responsible for all aspects of the paper and for the accuracy and integrity of the work.