Produções performáticas em Libras : o uso do corpo e da máquina em produções literárias em Língua Brasileira de Sinais

Abstract

The Literary Studies Field that seeks to analyze and investigate the structure and composition of signed literary productions in several sign languages around the world has considerablyincreased in recent years.This is due to the growing number of artistic and literary productions in these languages that are being produced, shared, and consumed through the use of online tools, such as video sharing platforms and social networks. Knowing that the technologies for capturing, editing, and registering images have developed, these digital productions have also been impacted and are gaining new configurations over the years regarding their sharing and, especially, their production. Likewise, digital literary productions in Libras have stood out and reached more and more followers inside and outside deaf communities.With the use of digital technologies in conjunction with sign in Libras and the use of dramatic elements, we see highly hybrid productions emerging. They dialogue with the most diverse artistic areas, such as cinema, dance, and theater, thus creating highly performance-oriented and visual productions.Therefore, aiming to understand the composition and structure of these productions, this research aims to analyze and demonstrate how the coupling between three distinct aspects, namely, linguistic, dramatic and technological, come together to form these signaled digital performances. To this end, we selected in this research four different productions from searches on profiles on the social network Instagram, meeting the criteria established in the methodology of this work, such as: productions recorded on video, signaled in Libras (or containing characteristic features of that language) without explicit references to the Portuguese. Hence, the selected productions were: “International Women’s Day” (2019), by Ângela Eiko Okumura; “Mãe Árvore” (2019) and “A dor do silêncio” (2019), both by Renata Freitas; and “O gato ea mosca” (2020), by Renata Rezende. To analyze such video productions, the ELAN software was used. It enabled the identification and analysis of aesthetic effects inherent to the performances within the aforementioned linguistic, dramatic and technological aspects. Through the undertaken analyzes, it was possible to identify some elements that constitute these productions based on the use of the three aspects highlighted in this work. We verified how the language, the body and the technology act together to form highly performative, visual and imagery creations. As a result of this research, it was possible to identify the sculpt elements of each of these aspects and evidence their use. We also hope, with the completion of this research, that new forms of analysis and theoretical conceptualization of productions in Libras will be inserted in the field of flagged literary studies, thus opening new and exclusive perspectives for the analysis of these productions that are not supported only by the existing literary studies. In this sense, Libras can reaffirm itself as a language independent of oral languages, including in its aesthetic manifestations.