When I die, I will dance everything to God: the incorporation of the poetics of black imaginary in the soma of the staging

• Grant number: 21/05248-7
• Support Opportunities: Scholarships in Brazil - Scientific Initiation
• Effective date (Start): October 01, 2021
• Effective date (End): September 30, 2022
• Field of knowledge: Linguistics, Literature and Arts - Arts - Theatre
• Principal Investigator: Verônica Fabrini Machado de Almeida
• Grantee: Victor Timotio de Lima
• Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil

Abstract

This research project it is proposed as a continuation of questions raised in the previous Scientific Initiation of the student - The trans-creation of Athol Fugard's Sizwe Bansi is dead: contemporary dance and movement dramaturgy from a director's perspective (grant #2020/05287-0, São Paulo Research Foundation (FAPESP)). This new stage aims to expand the investigation about the use of contemporary dance as a potentializing tool in the staging of a narrative, going towards a somatic approach as a potentialized of incorporated knowledge, apprehending an epistemology, a sensitivity, and an aphrodiasporic poetics. It starts from the principle that the aforementioned poetics understands the art form as a knowledge´s intertwining so that, instead of separating into delimited concepts of "dance", "theater", "music", among others, interconnect them, being the performer´s / actor´s body the place of this connection. Thus, in order to continue the practice as the main research method, it will be investigated "how" the poetics of black imaginary is incorporated into choreographic processes, with the objective of creating a scenic material from the work "Quando eu morrer, vou contar tudo a Deus" (2019), by Brazilian playwright Maria Shu. The dramaturgical text, therefore, will be the field in which the relations between the body and the imaginary will be explored in a transversal way, dialoguing with Gaston Bachelard´s imagination notions, Michael Chekhov´s practices, and the aphrodiasporic cosmoperceptions evoked in the aforementioned dramaturgy. (AU)