About experience and testimony in the Heroicizing Performative Documentary

Abstract

: In the present study, we will analyze the relationship between survival and trauma and its relationship with the testimony in the documentary Que bom te ver viva (1989), by Lúcia Murat and the construction of the anonymous character and the witnesses of her experiences in prison, correlating the present life and their forms continue the struggle and resistance. We see in other documentaries the emergence of testimony as a strategy for constructing the Heroicizing Performance Documentary (DPH) category and its relations with the categories testimony testis, superste and arbiter. We will observe how the testimony is questioned by the narrator, as she does not accept the “pseudo” normality described by the witnesses, because, for the “narrator” of Que bom te ver viva, it is necessary to understand the need and impossibility of overcoming the trauma. The reflections of Benveniste (1969), Seligmann-Silva (2001; 2008) and [retirado avaliação às cegas] (2021, 2019, 2016) on testimony will be fundamental to the analysis. Cornelsen (2019) and Didi-Huberman (2000, 2013); about survival, among others.