O trabalho da atuação em comunhão com a matéria: experiências do corpo e das coisas na cena
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Data
2022-06-20
Autores
Almeida, Sofia Botelho de [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Este estudo nasce da experiência da autora enquanto atriz integrante do coletivo teatral 28 Patas Furiosas (São Paulo), que pesquisa, há nove anos, o Teatro e sua fusão com as Artes Visuais. No desenvolvimento dos espetáculos do coletivo, as matérias foram ganhando mais espaço à medida que o protagonismo dos atores e das atrizes diminuía. Assim, detectou-se um novo lugar a ser descoberto pelos/pelas intérpretes, que não privilegia o protagonismo humano e sua lógica dicotômica na apreensão do mundo, despertando questionamentos como: De que maneira a atriz e o ator podem incluir as coisas em sua poética? Quais as possíveis formas de comunicação com as coisas em cena? Procurando responder a essas perguntas, o trabalho está dividido em três capítulos. No primeiro, busca-se localizar as relações entre a atuação e as matérias em momentos da História da Arte no século XX, estabelecendo-se paralelos entre as artes da cena e as artes visuais. Parte-se das vanguardas artísticas europeias do início do século XX, até se chegar ao período da Neo Vanguarda norte-americana dos anos 1960, numa efervescente produção de linguagens híbridas, das quais serão destacados os Happenings. O segundo capítulo apresenta a origem do coletivo 28 Patas Furiosas, bem como a criação do seu treinamento Dramaturgia de Forças. Por fim, no terceiro capítulo, utilizam-se teorias ligadas ao Novo Materialismo, e a partir delas analisam-se as diferentes possibilidades de relações entre os corpos e as coisas em quatro espetáculos: Encantado, da Cia. de Danças Lia Rodrigues; PAREDE, do coletivo teatral 28 Patas Furiosas; Amarelo, de Elisabete Finger; e Contos Imorais - Parte 1: Casa Mãe da performer francesa Phia Ménard.
This study stems from the author's experience as an actress who is a member of the theater collective 28 Patas Furiosas (São Paulo), which has been researching Theater and its fusion with Visual Arts for nine years. In the development of the collective's shows, the materials gained more space as the protagonism of the actors and actresses reduced. Thus, the opening of a new place to be discovered by the performers was detected, which does not privilege human protagonism and its dichotomous logic in the apprehension of the world, raising questions such as: How can the actress and the actor include things in their poetics? What are the possible ways of communicating with things in the scene? Seeking to answer these questions, the work is divided into three chapters. In the first one, we seek to locate the relationships between acting and things in moments of the History of Art in the 20th century, establishing parallels between the performing arts and the visual arts. It starts with the European artistic avant-gardes of the early 20th century, until reaching the period of the North American Neo Vanguard of the 1960s, in an effervescent production of hybrid languages, of which we highlight the Happenings. The second chapter presents the origin of the collective 28 Patas Furiosas, as well as the creation of its Dramaturgy of Forces training. Finally, in the third chapter, theories linked to the New Materialism are used, and from them, the different possibilities of relationships between bodies and things are analyzed in four shows: Encantado, by Cia. De Danças Lia Rodrigues; PAREDE, from the theatrical collective 28 Patas Furiosas; Amarelo, by Elisabete Finger; and Immoral Tales - Part 1: Motherhouse of French performer Phia Ménard.
This study stems from the author's experience as an actress who is a member of the theater collective 28 Patas Furiosas (São Paulo), which has been researching Theater and its fusion with Visual Arts for nine years. In the development of the collective's shows, the materials gained more space as the protagonism of the actors and actresses reduced. Thus, the opening of a new place to be discovered by the performers was detected, which does not privilege human protagonism and its dichotomous logic in the apprehension of the world, raising questions such as: How can the actress and the actor include things in their poetics? What are the possible ways of communicating with things in the scene? Seeking to answer these questions, the work is divided into three chapters. In the first one, we seek to locate the relationships between acting and things in moments of the History of Art in the 20th century, establishing parallels between the performing arts and the visual arts. It starts with the European artistic avant-gardes of the early 20th century, until reaching the period of the North American Neo Vanguard of the 1960s, in an effervescent production of hybrid languages, of which we highlight the Happenings. The second chapter presents the origin of the collective 28 Patas Furiosas, as well as the creation of its Dramaturgy of Forces training. Finally, in the third chapter, theories linked to the New Materialism are used, and from them, the different possibilities of relationships between bodies and things are analyzed in four shows: Encantado, by Cia. De Danças Lia Rodrigues; PAREDE, from the theatrical collective 28 Patas Furiosas; Amarelo, by Elisabete Finger; and Immoral Tales - Part 1: Motherhouse of French performer Phia Ménard.
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Matéria, Cena, Coisas, Teatralidade, Performance