IN ENGLISH: Crazytions, a documentary project

   Crazytions is part of Leseira Baré activities, a NGO that helps people with mental health diseases in Manaus, Amazon.  
   This documentary will have the main focus on the discourse of the madness and about the madness, be that socially recognized or not, their use as metaphors and their mirroring on the documentary. We search for rethinking new ways of understanding the madness, establishing a relationship between it and prejudice, as a source of violence and isolation. We will work with users of the service of Mental Health and with the experiences of deinstitutionalization in the treatment of individuals with mental suffering in the city of Manaus, Sao Paulo and Santos, in the sense of them re-meaning their stories of mental suffering. Yet with the community, giving new meaning to what is called madness. We will also try to reveal the strategies the population develops to deal with the issue of madness, in other words, the arrangements the families, the community, and the users of the service of mental health build to deal with psychotic outbreaks.
     We intend that the effect of this work could not only allow the carrier of psychic suffering to return to what they had lost at the psychic outbreaks, which means the word - the ability to speak and to be heard - but also we want the community to become able to put themselves in the place of the carrier of mental suffering. If the dialectic discusses everything - including itself, insisting in overcoming - and if all learning experiences includes the one who knows it by a personal way, we want the object of observation to be able to observer himself, and vice versa. To get there we want to exploit some individuals with mental suffering to build the narratives about themselves, using the documentary’s crew to represent them. They’ll be even filming our crew on this process, to the point of observer and observed to alternate and exchanging their roles, as the search for the real that occurs through the game of illusion. After all what is on the screen in form of documentary is not real and yet it is, if there were not this permanent game, there would be no possibility to establish the procedures of identification and projection.
     At the same time, through this we want to mean audio-visually how the excluded person may no longer be referred as a part of a speech but to become protagonists of their own speeches. We want to make the voices of madness materialized. In the relation observer / observed, we want to show that one influences the other, transforming each other in a movement of autopoiesis*.
     The body on what we illusory believed to inhabit a voice versus the various voices in the same body: circumlocutions. LOUCOSSÃO. Crazytions. The disease points to an ideal of society that has not been achieved by an individual or a group: the mad people become a negative picture on the reverse of individuals that society of production and consumption aims, so what society prefers not to see and is also afraid to name.
     The goal is to provoke the viewer to reflect about the reality in which he/she lives, re-meaning the mental suffering and its process. In the case of this work, what we want is, finally, to remove the chain of legislative determinations, scientific definitions, institutional structures, through which mental illness took its forms of existence and expression. Hence, we want to discuss the segregation over the way of living, the kind of existence mental patients have to lead on our society, for society’s health. 
     The images and sounds that interpret the madness have much to do with the fragment, with disparate voices, with broken syntax, misplaced. Another is the logic being investigated here: of time, syntax, contradictions and dissonance, conflicts, antithesis, mergers. For this reason, we propose two paths that will cross each other: the cliché, stability, which is, what should be broken versus what may be the new, the metaphorical slide, the establishment of a new order, destabilizing, disruptive, provocative, unusual, and therefore, frightening. We want to break the language of ordinary documentary, put it out of context, restructuring it, introducing another sense for what is crystallized.
     Thus, the locations, the costumes, colors, light, the sounds, the noise and all the elements of audiovisual language will be fragmented to build the apparent one-voice speech of the documentary.

Luiz Carlos Martins
Rosângela Aufiero