Montagem narrativa não dramática ou quando a montagem toma posição

Abstract

The driving force of this practice-based research work has as a first premise the philosophical problematisation uttered by Georges Didi-Huberman relatively to the concept of montage, particularly the one that can be derived from both artistic and literary practices carried by Berthold Brecht. This problematisation is, through the project a arte do não-retrato, transposed to the audiovisual field. Is tested the possibility that the visibility and audibility intrinsic to the (audiovisual) montage processes of epic inclination (in the Brechtian sense of the term) are as capable of providing narrative-dramaturgical meaning to the objects on which they act as the invisibility and silenciosity underlying the (audiovisual) montage processes usually valued by the classic cinema and adjacent to the theatrical practices of dramatic nature. Thus, is rejected the deterministic and absolute correspondence between the concept of narrative and drama; is declined the view that, directly or indirectly, conjectures the montage operation as an inevitable and mere technique; and, simultaneously, it is suggested that this same operation can be epistemologically thought as a creative and discursive tool