Full text
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| Author(s): |
Elisa Massariolli da Costa
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2016-07-28 |
| Examining board members: |
Graziela Rodrigues;
Paula Caruso Teixeira;
Daniela Gatti;
Carla Andréa Silva Lima;
Heloisa Corrêa Gravina
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| Advisor: | Graziela Rodrigues |
| Abstract | |
This doctoral thesis aims to clarify the relationship between director and performer in the "Dancer-Researcher-Performer" (BPI: "Bailarino-Pesquisador-Intérprete" in portuguese) method. What is the singularity of this relationship in this method? What is the importance of this singularity to the interpreter who lives this process and to the production of the arts scenes? An analogy often made to the BPI, in which the director acts with the dancer as a midwife acts with a parturient, was considered for this analysis. Considering the issues to be addressed and this analogy proposed, the actions that compose this methodology have a practical-theoretical approach in which a role of artist-researcher-participant is assumed. The project consisted of observing BPI directors directing different performers; simultaneously, the researcher has worked as a direction assistant using this method, to experience being a director. Field research has also been developed with the traditional midwives from the Pankararu ethnicity, in the perspective of the BPI axis named Co-inhabit with the Source, in order to fulfill two purposes of this research: 1) deepening the analogy between the relations of director-performer and parturient-midwife; 2) going through the creative process as a researcher, and from the field research, putting herself in the performer¿s perspective of the study. This thesis was developed describing and analyzing of all of these parts, highlighting the connections and entanglements they have and dialoguing with pertinent authors to this research. The relationship between director and performer are gradually deepened in the sequence of the chapters, as if new layers about the subject were gradually enunciated. The data collected are intrinsic to what has been experienced in the author¿s own body, both as a direction assistant and as a performer, with an intense communication to what has been raised during field research. The text is detailed, highlighting some aspects of the practical work of a director in BPI being described for the first time. Many biases in the relationship between director and performer in analogy with laboring woman and midwife have been addressed, emphasizing the shared psychophysical field, in which the capacity of expanding the body boundaries and the need to have empathy is essential to enable both the childbirth and the creative process, as per the BPI method (AU) | |
| FAPESP's process: | 12/14847-2 - The dynamics of parturition in the creative process of the Dancer-Researcher-Performer (BPI) Method: a deepening of the relationship between director and performer and its importance in the birth of dance. |
| Grantee: | Elisa Massariolli da Costa |
| Support Opportunities: | Scholarships in Brazil - Doctorate |