<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0874-6885</journal-id>
<journal-title><![CDATA[Faces de Eva. Estudos sobre a Mulher]]></journal-title>
<abbrev-journal-title><![CDATA[Faces de Eva. Estudos sobre a Mulher]]></abbrev-journal-title>
<issn>0874-6885</issn>
<publisher>
<publisher-name><![CDATA[Equipa de Investigação Faces de Eva. Estudos sobre a Mulher, CICS.NOVA - Centro Interdisciplinar de Ciências Socias, Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa, Portugal.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0874-68852022000200029</article-id>
<article-id pub-id-type="doi">10.34619/awgm-owob</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[The art of storytelling and the duty of the storyteller: Paula Rego and Martin McDonagh, a visual and literary dialogue]]></article-title>
<article-title xml:lang="pt"><![CDATA[A arte do contador de histórias e o dever do contador de histórias: Paula Rego e Martin McDonagh, um diálogo visual e literário]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Macedo]]></surname>
<given-names><![CDATA[Ana Gabriela]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Minho Escola de Letras, Artes e Ciências Humanas (ELACH) Centro de Estudos Humanísticos da Universidade do Minho (CEHUM)]]></institution>
<addr-line><![CDATA[Braga ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<numero>48</numero>
<fpage>29</fpage>
<lpage>47</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0874-68852022000200029&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0874-68852022000200029&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0874-68852022000200029&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Martin McDonagh&#8217;s play The Pillowman (2003) has directly influenced Paula Rego&#8217;s compositions that bear the same name (2004-05). I propose to look at the work of both artists in the light of a shared conviction: the belief that &#8220;the first duty of a storyteller is to tell a story&#8221;. There lies the right of the storyteller. And the freedom of the artist is to reject becoming a &#8220;legislator of mankind&#8221; and to elude censorship through strategies that involve the ambivalence of the absurd, as well as transgression. Rego claims that the overpowering presence of the world of instincts, the grotesque and the abject in her work, are &#8220;naturally&#8221; there, as something moving and palpitating at the heart of the very reality she depicts.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Paula Rego criou em 2004-05 um conjunto de composições (pastel e litografias) inspiradas na peça de Martin McDonagh The Pillowman (2003), à luz de um princípio partilhado por ambos: &#8220;o dever do(a) contador(a) de histórias é contar uma história&#8221;. Este pretensamente inocente axioma assenta no princípio da rejeição da função social do artista enquanto &#8220;legislador&#8221; da Humanidade, face à sua liberdade e ao seu direito de iludir a censura e rejeitar o autoritarismo. Daí o recurso estratégico ao grotesco, ao absurdo e à transgressão, que tanto a artista como o dramaturgo privilegiam declaradamente na sua estética.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[storyteller]]></kwd>
<kwd lng="en"><![CDATA[absurd]]></kwd>
<kwd lng="en"><![CDATA[grotesque]]></kwd>
<kwd lng="en"><![CDATA[transgression]]></kwd>
<kwd lng="en"><![CDATA[censorship]]></kwd>
<kwd lng="pt"><![CDATA[contador(a) de histórias]]></kwd>
<kwd lng="pt"><![CDATA[absurdo]]></kwd>
<kwd lng="pt"><![CDATA[grotesco]]></kwd>
<kwd lng="pt"><![CDATA[transgressão]]></kwd>
<kwd lng="pt"><![CDATA[censura]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Addison]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Acknowledging the gap between sex education and the lived experiences of young people: A discussion of Paula Rego&#8217;s The Pillowman (2004) and other cautionary tales]]></article-title>
<source><![CDATA[Sex Education]]></source>
<year>2006</year>
<volume>6</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>351-65</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Billington]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Pillowman: National Theatre, London]]></article-title>
<source><![CDATA[The Guardian: Theatre]]></source>
<year>2003</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Borges]]></surname>
<given-names><![CDATA[J. L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The secret miracle]]></article-title>
<source><![CDATA[Labyrinths]]></source>
<year>1981</year>
<page-range>118-24</page-range><publisher-name><![CDATA[Penguin Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bouchard]]></surname>
<given-names><![CDATA[D. F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Michel Foucault: Language, counter-memory, practice - Selected essays and interviews]]></source>
<year>1986</year>
<publisher-name><![CDATA[Cornell University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Carroll]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Martin McDonagh&#8217;s The Pillowman or the justification of literature]]></article-title>
<source><![CDATA[Philosophy and Literature]]></source>
<year>2011</year>
<volume>35</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>168-81</page-range></nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Coveney]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[An arresting performance]]></article-title>
<source><![CDATA[Daily Mail]]></source>
<year>2003</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Foucault]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A preface to transgression]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Bouchard]]></surname>
<given-names><![CDATA[D. F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Michel Foucault: Language, counter-memory, practice - Selected essays and interviews]]></source>
<year>1986</year>
<page-range>29-52</page-range><publisher-name><![CDATA[Cornell University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lacerda]]></surname>
<given-names><![CDATA[A. de]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Paula Rego nas Belas Artes]]></article-title>
<source><![CDATA[Diário de Notícias]]></source>
<year>1965</year>
<month>,</month>
<page-range>3-4</page-range></nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lavey]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Pillowman]]></article-title>
<source><![CDATA[Backstage]]></source>
<year>2006</year>
<month>-2</month>
<day>00</day>
<volume>1</volume>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lopes]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Rimas de berço]]></source>
<year>2001</year>
<publisher-name><![CDATA[Relógio d&#8217;Água]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Macedo]]></surname>
<given-names><![CDATA[A. G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Through the looking-glass: Paula Rego&#8217;s rhetoric, an &#8220;aesthetics of danger&#8221;]]></article-title>
<source><![CDATA[Textual Practice]]></source>
<year>2001</year>
<volume>15</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>67-85</page-range></nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Macedo]]></surname>
<given-names><![CDATA[A. G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Scandalous bodies: Visual poetics and the politics of representation]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Stoneman]]></surname>
<given-names><![CDATA[P]]></given-names>
</name>
<name>
<surname><![CDATA[Leighton]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Sánchez-Arce]]></surname>
<given-names><![CDATA[A. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[European intertexts: Women writing in English in a European context]]></source>
<year>2005</year>
<page-range>177-91</page-range><publisher-name><![CDATA[Peter Lang]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Macedo]]></surname>
<given-names><![CDATA[A. G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Paula Rego e o poder da visão: A minha pintura é como uma história interior (Paula Rego and the power of vision: My painting is like an interior story)]]></source>
<year>2010</year>
<publisher-name><![CDATA[Cotovia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Macedo]]></surname>
<given-names><![CDATA[A. G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Resiliência criativa no feminino e re-significação da história em contraponto com a &#8216;manipulação de género&#8217; do Estado Novo (Creative resilience in the feminine and re-signification of history in counterpoint to the &#8216;gender manipulation&#8217; of the Estado Novo)]]></article-title>
<source><![CDATA[Diacrítica WOMANART]]></source>
<year>2020</year>
<volume>34</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>77-91</page-range></nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McDonagh]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[The pillowman]]></source>
<year>2003</year>
<publisher-name><![CDATA[Faber &amp; Faber]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McEwen]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Letter from London: Paula Rego]]></article-title>
<source><![CDATA[Colóquio Artes]]></source>
<year>1981</year>
<volume>50</volume>
<page-range>58-9</page-range></nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Miller]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fashioning subversion: Clothes and their meaning in Paula Rego&#8217;s paintings]]></article-title>
<source><![CDATA[Apollo Magazine]]></source>
<year>2006</year>
<month>,</month>
<page-range>20-7</page-range></nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pomar]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Se a palavra fosse visual: Pintura de histórias (If the word was visual: Painting stories)]]></article-title>
<source><![CDATA[Tabacaria]]></source>
<year>1996</year>
<volume>2</volume>
<page-range>19-23</page-range></nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Willing]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
<name>
<surname><![CDATA[Rosengarten]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[McEwen]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Paula Rego: Serpentine Gallery, 15 October - 20 November 1988]]></source>
<year>1988</year>
<page-range>7-8</page-range><publisher-name><![CDATA[Serpentine Gallery]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Nursery rhymes]]></source>
<year>1994</year>
<publisher-name><![CDATA[Thames and Hudson]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[O crime do padre Amaro (The crime of Father Amaro)]]></source>
<year>1999</year>
<publisher-name><![CDATA[Fundação Calouste Gulbenkian]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Celestina&#8217;s house]]></source>
<year>2001</year>
<publisher-name><![CDATA[Abbot Hall Art Gallery]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Jane Eyre]]></source>
<year>2003</year>
<publisher-name><![CDATA[Marlborough Graphics]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[The pillowman]]></source>
<year></year>
<publisher-name><![CDATA[Marlborough Fine Art]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rodrigues]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Carta de Lisboa: Ultrapassar a arte (Letter from Lisbon: Beyond art)]]></article-title>
<source><![CDATA[Colóquio Artes]]></source>
<year>1988</year>
<month>,</month>
<volume>77</volume>
<page-range>62-3</page-range></nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Segal]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Are you sitting comfortably?]]></article-title>
<source><![CDATA[The Sunday Times: Culture]]></source>
<year>2003</year>
<month>,</month>
<volume>19</volume>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Simões]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[O homem almofada e nós (The pillowman and us)]]></article-title>
<source><![CDATA[Jornal de Letras]]></source>
<year>2006</year>
<month>,</month>
<volume>34</volume>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Taylor]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A violent kind of pillow hack?]]></article-title>
<source><![CDATA[The Independent: Arts, Theatre]]></source>
<year>2003</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Willing]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Inevitable prohibitions]]></article-title>
<source><![CDATA[Paula Rego, exhibition catalogue]]></source>
<year>1988</year>
<page-range>7-8</page-range><publisher-name><![CDATA[Serpentine Gallery]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
