Funâmbulo: the anthropophagic artist on the slack line

• Grant number: 14/03246-3
• Support Opportunities: Scholarships in Brazil - Doctorate
• Start date: June 01, 2014
• End date: September 30, 2017
• Field of knowledge: Linguistics, Literature and Arts - Arts - Theatre
• Agreement: Coordination of Improvement of Higher Education Personnel (CAPES)
• Principal Investigator: Renato Ferracini
• Grantee: Ana Beatriz Sampaio Soares de Azevedo
• Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil

Abstract

Through theoretical-practical research, this project has as focus the question of the "passage" - the metamorphosis, the flow, the transmutation - inherent to the process of creation and performance of the scenic artist. This study intends to articulate the proposals directed to the performer, contained in the text Le Funambule by Jean Genet (in my direct translation of the French for the Portuguese), with the philosophical presuppositions of the Anthropophagy, as much the ritual, practiced for the Amerindians, as the cultural one, formulated by Oswald de Andrade. The etymology of the name "funâmbulo" points to the action of walking ("ambulo", "ambulare") in the rope ("funis"). Funis is also cable, and can be thought as a lace that binds a thing to the other, sending information, food, energy, and keeping connections. The image recalls a "umbilical lace", as well as a fibre optics. In this sense, the project aims to accomplish a scenic-poetical experience with the text of Genet, understanding the etymology of the experientia term while "proof", "essay", "attempt" that accumulates the fragments "ex", "peritus", "entia". In this process, the body "attempts" the balance/disequilibrium proposed by the author, in the personal aspect ("entia"), as well relating with the "outside" ("ex"), trying with myself and with the world, on the connections' rope. In such way, the cartographic methodology was chosen for its direction to accompany and to live deeply, complementing the proper subject of the research. The choice of the anthropophagy for this project is also for the fact of that, formulated by Oswald de Andrade while philosophy, it was well received, however, in the cultural and aesthetic field. This approaches the text of Genet of the Oswald's formulation, therefore both reach, with the art, a philosophical level of reflections, reaffirming that the art can produce thought, extending perspectives and reverberations to the strictly conceptual field of the philosophy. (AU)