"What I can say, in the first place, is that in these more than ten years in which I embarked on research on documentary and autobiographical work in theater, I never wanted to do a play about" my life ". The problem was that , when this happened, there was no way not to do it. These are jobs that are born from the pressure of brands, their violence, their urgency, the need to create a new body to respond to these brands, brands that forced me to think, paraphrasing Suely Rolnik. Making a “theater play” is, of course, always a choice. But dealing with the psychic contents that manifested themselves in these processes was a requirement that, otherwise, their repression or foreclosure could only have the expression in I chose artistic expression. And, as intelligence comes later, as Proust used to say, what follows from the confrontation with brands, from letting me be surprised by them, is an affluence between art and life, theory and aesthetics, inseparable. "
Milk, Janaina. From the documentary real to the obscene real, 2020.
(...) it is not just a matter of making a personal statement in the most sincere way possible, as in other attempts at autobiographical performance. Janaína uses ostentatious theatricality, understood as a premeditated use of mediation and scenic apparatuses that function as types of footnotes designed to make the spectator's distance possible and, at the same time, destabilize him with outbursts of real and performative risk. Artistic, philosophical, literary and scientific materials coexist to enhance the experience, linking the creator to the artistic current that understands art as a form of research. It is a path of life, but also of reflection. Both recovered in the memories, perhaps real, reorganized and made fiction in the sense defended by Jacques Rancière, for whom fiction is not the creation of an imaginary world opposite to the real, but “a work that performs dissent, that changes the ways of sensitive presentation and enunciation forms [...] building new relationships between appearance and reality, the singular and the common, the visible and its meaning ”(RANCIÈRE, 2014, p. 64) 3.
Fernandes, S. (2020). Acts of desecration. In: Sala Preta, 20 (1), 185-197.
MITsp - Researcher in Focus - Janaina Leite
GEBARA, Ivone; IACONELLI, Vera; MACHADO, Laís; PIAZENTINI VIEIRA, Priscila. The Woman's Body, Its Representations and the Courage of the Truth. (table) In São Paulo International Theater Exhibition, Teatro Cacilda Becker, 03/13/2020.
Available at: https://www.youtube.com/watch?v=fpdTFu905rs
ROBERT MORAES, Eliane. Transversal dialogues. (table) At MITsp - São Paulo International Theater Exhibition, Cacilda Becker Theater, 12/03/2020.
Available at: https://www.youtube.com/watch?v=tNdJ8E27C4M
Disassembly of "Stabat Mater". In MITsp - São Paulo International Theater Exhibition, 2020.
Available at: https://www.youtube.com/watch?v=X4iPkY9C2nc
Janaina Leite with Stabat Mater in the program Arte 1 em Movimento, interview by Carolina Ferreira.
Available at: https://www.youtube.com/watch?v=k52bGqM-XTc&t=73s