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Advisor(s)
Abstract(s)
A ideia da coreografia enquanto conceito expandido (Krauss, 1979) ou independente da dança,
é uma forma de interpretar o comportamento social, adequado aos modos de organização dos corpos
no espaço sociopolítico. Segundo Andrew Hewitt, a coreografia neste sentido, não representa
esteticamente a política, não reflete a ordem política, mas é sim aquilo que a posiciona (2005). Por
sua vez, a dança, é o espaço da aparência (Arendt, 1958), e atende ao desejo de desinibição intelectual
(Oiticica, 1967).
Sendo tanto a dança como a coreografia compostas por relações espácio-temporais entre corpos
em movimento, podem gerar modalidades (ferramentas) de (des)ordenação e de (des)organização
de grupos compostos por pessoas, animais, objectos e matérias. Relações estas que, potencialmente,
expressam as interdependências entre micropolítica e macropolítica (Rolnik, 2017a).
Durante os processos criativos associados a estes meios artísticos, a produção de
conhecimento(s) constitui-se a partir de uma lógica particular de pensamento e de ação. Assim,
nesta tese, a pergunta de investigação desenha-se na seguinte forma: que tipo(s) de conhecimento(s)
estamos a criar com estes modos de ativação?
Partindo de uma abordagem multidisciplinar, permeada de ferramentas para pensar (Stengers,
2005), teóricas, técnicas e práticas, apresenta-se aqui uma investigação que se centra na ideia de
prática enquanto tecnologia de si, Foucault (1998), seja ela artística ou cultural, como forma de
aquisição de conhecimento(s).
Por práticas, são aqui consideradas atividades realizadas de forma sistemática que geram uma
técnica ou uma metodologia e que compõem uma variedade de modalidades relativas ao corpo, ás
relações entre os corpos e os modos de organização dos corpos no espaço individual e social. Nesta
investigação analisam-se dispositivos coreográficos, metodologias de dança e práticas culturais,
como exemplos que intentam compreender e explicar como a produção de conhecimento(s) acontece
e quais os tipos de conhecimento(s) são permitidos por meio destes dispositivos, e o que têm a
oferecer ao espectador contemporâneo. Desta forma, o trabalho concentra-se em analisar como estas
metodologias, podem contribuir para a formação de novas subjetividades - daí um novo indivíduo,
um novo corpo social e novos corpos políticos, no contexto social assim como no artístico.
The idea of choreography as an expanded concept (Krauss, 1979) or independent from dance, is a way of interpreting social behaviour that is well suited to the ways of organizing bodies in the socio- political space. According to Andrew Hewitt, choreography in this sense does not represent politics aesthetically, does not reflect the political order, but it is what positions it (2005). In turn, dance is the space of appearance (Arendt, 1958), and satisfies the desire for intellectual disinhibition (Oiticica, 1967). Since both dance and choreography are composed of spatial-temporal relations between bodies in motion, they can generate modalities (tools) of (dis)ordering and (dis)organization of groups composed of people, animals, objects and materials, in short, those relationships that potentially express the interdependencies between micropolitics and macropolitics (Rolnik, 2017a). During the creative processes associated with these artistic means, the production of knowledge(s) is constituted from a particular logic of thought and action. Thus, the research question that guides this thesis is as follows: what type(s) of knowledge(s) are we creating with these modes of activation? Adopting a multidisciplinary approach, permeated with theoretical, technical and practical tools for thinking (Stengers, 2005), here is presented a study that focuses on the idea of practice as technology of the self (Foucault, 1998), whether artistic or cultural, as a way of acquiring knowledge(s). This study takes practices to mean those activities carried out in a systematic way that generate a technique or a methodology and that make up a variety of modalities related to the body, the relationships between bodies and the ways of organizing bodies in individual and social space. This study analyses choreographic devices, dance methodologies and cultural practices, as examples that try to understand and explain how the production of knowledge(s) happens and what types of knowledge( s) are possible through these devices, as well as what they have to offer the contemporary spectator. In this way, the thesis focuses on studying how these methodologies can contribute to the formation of new subjectivities - hence a new individual, a new social body, and new political bodies, in the social as well as in the artistic context.
The idea of choreography as an expanded concept (Krauss, 1979) or independent from dance, is a way of interpreting social behaviour that is well suited to the ways of organizing bodies in the socio- political space. According to Andrew Hewitt, choreography in this sense does not represent politics aesthetically, does not reflect the political order, but it is what positions it (2005). In turn, dance is the space of appearance (Arendt, 1958), and satisfies the desire for intellectual disinhibition (Oiticica, 1967). Since both dance and choreography are composed of spatial-temporal relations between bodies in motion, they can generate modalities (tools) of (dis)ordering and (dis)organization of groups composed of people, animals, objects and materials, in short, those relationships that potentially express the interdependencies between micropolitics and macropolitics (Rolnik, 2017a). During the creative processes associated with these artistic means, the production of knowledge(s) is constituted from a particular logic of thought and action. Thus, the research question that guides this thesis is as follows: what type(s) of knowledge(s) are we creating with these modes of activation? Adopting a multidisciplinary approach, permeated with theoretical, technical and practical tools for thinking (Stengers, 2005), here is presented a study that focuses on the idea of practice as technology of the self (Foucault, 1998), whether artistic or cultural, as a way of acquiring knowledge(s). This study takes practices to mean those activities carried out in a systematic way that generate a technique or a methodology and that make up a variety of modalities related to the body, the relationships between bodies and the ways of organizing bodies in individual and social space. This study analyses choreographic devices, dance methodologies and cultural practices, as examples that try to understand and explain how the production of knowledge(s) happens and what types of knowledge( s) are possible through these devices, as well as what they have to offer the contemporary spectator. In this way, the thesis focuses on studying how these methodologies can contribute to the formation of new subjectivities - hence a new individual, a new social body, and new political bodies, in the social as well as in the artistic context.