tipologias e transdisciplinariedade na programação de uma exposição de máscaras do Teatro Nô

Tese de mestrado em Museologia e Museografia, apresentada à Universidade de Lisboa através da Faculdade de Belas Artes, 2006This Master of Museum Studies Thesis deals with museological and museographic issues concerning the treatment, approach and presentation of Oriental Art, detailing the mask collections of No Theatre. Starting from the analasys of museum realities and exhibitions, both in Portugal and in Europe (selected according to the representativity of these collections), we were able to confirm the exixtence of several types of presentations/readings which outline two paradigms: the oriental testimony, namely the No masks, according to a perfectly aesthetic reading, and the same studied object analysed in the light of several aspects which favour an anthropological/ethnological vision. This way, two basic expographic shapes become respectively linked to each paradigm: on the one hand a minimalistic one, directly focused on the oriental specimen, without much satellite information and with the primary purpose of making one dazzled in the presence of the piece; on the other hand a more complete presentation which evokes contexts from the production to the symbolic functioning of the testimonies in their context, getting successfully hold of physical reconstructions of original spaces and ambiences or of the projection on a large scale of cerimonies or other framings of the testimony. As a result of this research we were faced with three crucial issues: the museum language as a means of communication (subject to a semiological analysis); the exhibition-show and the exhibition-work of art (as innovating ways of presentation but with the possibility of relocating the objects and the scientific contents themselves to second place) and the possibility of new approaches (in which the methodological eclectism may eventually direct the approaches culminating in a crossing and multiplicity of readings of the museum testimony for a more complete conveyance of the complex meanings which can be seen as its origin). Next we analysed the imaginary of such a complex object as the mask, trying to focus on the context previous to the appearance of the No masks in Japan and on the history and development of the performing art in which they are used. Being aware of the dynamic of the No Theatre and of its masks, we carried out the proposal of an exhibition (with ten different spaces) through which we intend to merge the methodological eclectism and the crossing and multiplicity of readings with an element of spectacularity and interaction which will allow for a new enjoyment of the exhibition space and of the museum institution. Finally, through a space dedicated to dazzling, to the focusing of the pieces, to the evocation of the contents and to the interaction of the public, who becomes active, we hope for a more personal reading, absorption and future memorization of the museum/exhibition experience which they have live