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| Author(s): |
Valeska Marlete Guimarães Figueiredo
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: | 2012-02-27 |
| Examining board members: |
Marilia Vieira Soares;
Renato Ferracini;
Veronica Fabrini Machado de Almeida;
Helena Tania Katz;
Antônio Carlos de Araújo Silva
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| Advisor: | Marilia Vieira Soares |
| Abstract | |
This thesis seeks to understand how in a dance the notion of body and spatial arrangement of the scene expose a political stance, as well as build a world view. The dance is not separated from social, economic and political spheres, as it constitutes and is constituted by them. These issues were researched in the artistic trajectories of Sandro Borelli, director and resident choreographer of the Borelli Dance Company, and Vera Sala, director and creator-interpreter of the Vera Sala Artistic Group. We highlight some of their creations, understood as relevant in the construction of certain aspects of their thoughts on dance. Their aesthetic and political perspectives are very different, but they seem to have a common interest for questioning certain dominant standards and normative orders. The particularities of each artist's work demanded a specific theoretical place to discuss each trajectory. We examined the guiding principles of their research of the body, the arrangement of bodies in space of the scene and the modes of relationship between them, their creative procedures, their organization and creation as a group. Investigating these works, we found that their creations propose a way of perceiving and acting in the world. Aesthetic and political implications of art were analyzed and discussed, along with a range of thinkers, coming to the proposition that for art to be critical, it needs to create dissent, and for it to be ethical, it needs to increase the power of action and/or inaction of a collectivity. One has to make the instigating inquietude of the creative process a way of life, building it bodily through the transit between daily and extra-daily techniques. The artistic resistance to current schemes of control and exploitation takes place through leaks in the creative processes. Fictions, invisibilities, latencies and gaps can thus penetrate ordinary life, destabilizing certain offenses (AU) | |