This research does an analysis around the potential of resignification present in female biocybernetic bodies that find themselves in the field of Performing Arts. The female biocybernetic bodies are in the expansion of perceptions, in the frontier places provided by performativity and in the non-dichotomous understanding of nature/culture, creative ways of re-signifying their positions about gender. The purpose of this research is to realize that such artistic bodies problematize the meanings of "being a woman" existing in the modern-colonial gender system and contribute to important reflections and possible subversions. The term "corpa" will be used as a way of rejecting the Eurocentric hegemony placed through the masculine term and proposing an inversion in the action of the gaze. For the analysis, the research is mainly based on the concept of "biocybernetic body", developed by Lúcia Santaella, but it is also linked to the studies of performativity, situated cognition, dealing more specifically with Enactivism and Embodied Affectivity, digital culture and decolonial feminisms. From a methodology that interweaves an analysis of the author's performative works, as well as her processes, and also the performativity of other female bodies, it is intended to show the dissertation through a performative bias, being this act itself imbedded in the research theme.  

This research examines the performativity of Travesti and trans, black and/or racialized bodies, marked by the phenomenon of anti-blackness, which develops a contemporary racial political perspective to analyze and understand the racial dynamics of today's world. From my experience as an actress, playwright and researcher and artistic, political, social and racial reading of spaces and scenic productions, I dedicate myself to an ethnographic investigation based on the theatrical show Black Skin, white masks based on the book of the same name by Frantz Fanon, and directed by Onisajé, focusing on the creation of the character Fanon, on the creative process, on performativity and on the disruption of norms perpetrated by the white supremacy in the processes of artistic and social construction. It develops, then, from the understanding of the world through Travestility, new discourses and practices that tend to demolish (inter)national projects and models of art and humanity, under the control of a white, western and imperialist system. In this way, concepts such as existences and divergent bodies are proposed to rethink the movement of racialized people in the world who do not fit the western binary gender norms, as well as to assimilate the powerful association of the concepts of anti-blackness and Travestility as a split in the models colonial differences of gender and race within the field of the arts.

Travestility. Anti-blackness. Performance. Staging. Divergent bodies.

This dissertation aims to highlight the value of oral culture based on the voices of older men and women from Quilombo da Muribeca, located in the city of São Francisco do Conde (Bahia), for the promotion of educational processes for children and young people between 07 (seven) and 17 (seventeen) years on black identities in the Theater. The methodology used in this process is supported by two fields of knowledge - empirical and scientific, and seeks to merge Black Theater and Storytelling, highlighting the value of oral culture and the knowledge transmitted by the voices of the oldest women in Quilombo da Muribeca. The stories told by the older ones were retold by the children through theater, so it is understood that the old does not exclude the new and neither can the new exclude the old. This exchange produces awareness.

This research proposes to investigate the presence of the character Alex in the movie A Clockwork Orange (1971), produced and directed by the American filmmaker Stanley Kubrick, based on the adaptation of the homonymous literary work by the British writer Anthony Burgess. From the analysis of the central element of the dramatic action, the character, it allows an understanding of the dramaturgical poetics of the filmmaker, screenwriter of his own films, all adapted from literary works. That is the intention of this dissertation.

Due to the scope of the researched object, theoretical sources from different fields were used, not just drama theory and studies on fictional characters. Cinema theory, biographical sources about the director, and notions from Sociology, Psychology, Philosophy and History were also used. The purpose was to substantiate the work in an approach that would do justice to Kubrick's sophisticated and complex work, and that would also provide an enriching look beyond the cut made. Among the authors used to approach the character (in theater and cinema) are: Anatol Rosenfeld, Doc Comparato, Eric Bentley, Michel Ciment, Peter Szondi, Renata Pallottini, Syd Field, among others. In a complementary way, this analysis will be historically and socially contextualized with the theoretical support of David Harvey, Guy Debord, Margot Berthold, Michel Foucault, Theodor Adorno, Walter Benjamin, among others.

Throughout the three chapters that make up this work, we sought to reveal the work of this filmmaker, in its conceptual aspects (always supported in its historical-social contexts) as well as in its plastic and formal aspects, resulting from the processing of those, already that, in cinema, form and content are inseparably intertwined. It should be noted that the focal point and "pivot" of the study is the character Alex, possibly the most iconic among the director's films. It was believed here that scrutinizing the character's path and movement throughout the film would shed light on its background, the enigmatic and fascinating artistic language of Stanley Kubrick.

The thesis presents the artistic and pedagogical epistemic paths traveled and
systematized by black teachers, giving visibility and protagonism to their praxis.
The research aimed to highlight the Arts and the work of the professional in this
area of knowledge in the school context, with purpose and commitment to an
anti-racist education, with the black body in the centrality of this study. We
highlight two challenges encountered by engaged teachers: the first, teaching
arts, and the second, how much it addresses the study of ethnic-racial relations,
because we know that racism exists in this context, in a veiled way, a factor that
greatly impairs the educational advancement of black students, as well as affects
the work of these professionals, even if they are covered by Law 10.639/03. The
research affirms art as epistemology of teaching, and presents the experience of
"engaged teachers" (HOOKS, 2013, p.22) with the anti-racist cause, being social
actors, protagonists involved, in the construction of their praxis, who start from
their "semantic basins" (MACEDO, 2012), we interviewed six black teachers
linked to the teaching network to position themselves on representativeness,
blackness, black empowerment and strategies to combat/confront racism,
flowing their narratives with other black researchers and epistemologies already
elaborated in favor of an equitable education. The inspiration is part of my
personal trajectory as a black Artivist and goes against other teachers, also black
and artivists and has a "countercolonizing" purpose, as Suggested by Antônio
Bispo dos Santos, so I update my way of looking and evaluating how much the
school and higher education have a colonizing structure. Thus, we have seen
powerful results, successful practices and paths that denote affirmation, political
positioning and artivism, and it is also up to the review of the school curriculum,
so the need to "denigrate" western knowledge, in the positive sense of the word,
and advance in the deepening of ethnic-racial knowledge, increasing the feeling
of belonging and protagonism, understanding the intersection that crosses each
teacher/his cultural and socio-demographic context.

This thesis addresses and delves into the potential of theater making in the city of Senhor do Bonfim, in the center-north of Bahia, at the end of the second half of the 20th century, specifically in the semi-arid region of Bahia, and narrates stories that for a long time remained inaudible, silenced, erased and underrepresented in the Brazilian theater scene. Theater in the semi-arid region of Bahia needs to be recognized, resignified and unveiled in order to integrate the history of Performing Arts in Brazil. Given this invisibility and lack of research on theater that moves away from large urban centers, we guided the work from the following perspectives: the first characterizes local theater spaces, redesigning the geographic space of the semi-arid region as a place of artistic potential; the second goes through a survey of theater groups from the 1970s, 1980s and 1990s; the third addresses the Mutart Theater Group, given its subversive and transgressive aspect, and which comes to break with the scenic aesthetics of the previous decade. We will sing the Theater in the semi-arid region of Bahia in the twilight of the second half of the 20th century, relying on Alberti (2005), for our studies in Oral History; in Boal (1991) and Brecht (2005), to reflect on the interlocutions between group formation and the scene; to discuss this theater in the semi-arid region and collective creation, we invoke Barba (1991, 1999). In the field of subjectivities, Deleuze (1991, 1996) and Guattari (1992) contribute when they state that we are “desiring machines” building our own way of being. When considering the effects of the disciplinary and normalizing power of life and the body, we base ourselves on the studies of Foucault (1995, 2000, 2001), Butler (2001, 2010) and Louro (2000, 2007). In affirming the semi-arid region of Bahia as a locus of scenic richness, we sought Reginaldo Carvalho (2008, 2018) and other authors from the region. We resorted to primary sources (newspapers and magazines), oral reports, interviews with actors, actresses and people linked to the performing arts for prior knowledge of the subject. The Oral History was fundamental and enhanced the collection of information about the subject/object of this work. In search of a field of action, we sought in the historical veil the impulse to tear the invisibility and silencing of the theatrical effervescence that heralded the dawn of art and future contemporary research.

The project aims at an accurate research on the origin, development and diffusion in various territories of that phenomenon classified as "baroque", both historically and a posteriori: in this case restricted to the world of singing and more specifically to opera.
The research started from that singing movement appearing in Europe during the seventeenth century following the appearance of the castrati´s voice in Spain but having its origin in the Arab world.
The need to produce vocal sounds able to achieve higher notes, seized the right moment for the introduction of castrated soprano singers in the Church´s choirs because at the time women were banned from participating in religious choirs.
The aim of the investigation is to explore and bring to light how much this phenomenon has affected and conditioned the society of that time with particular focus on those classes that were not well off, or to be more explicit very poor, because a career as a castrato singer was considered to be a great opportunity for their sons’ future. The outcome of the research highlights that great artistic and economic results were only achieved by few castrated singers; it was a spreading phenomenon originating in the Church´s choirs which later on became very common in the world of opera but in most cases, it was only the cause of many dramas mainly affecting the least gifted and the poorest.
Despite all the above, the research shows and enumerates many great successes obtained by the castrati´s voice, not only in the Italian theatres where this phenomenon was born and from where it spread, but also in other prestigious European theaters.
Having reached this point we need to take into consideration that this Italian phenomenon touched Portugal too; therefore, it makes sense to move the investigation into what become later on its colonies. The aim of this research is to probe and establish whether this form of entertainment lead by emasculated singers managed to dominate or simply put just some roots in the first Brazilian Portuguese colony identifiable as Salvador da Bahia.

This thesis is a theoretical-critical work that aims to carry out five variations on the same theme: the tension between the rationality of the plotline and the sensitive effect of the spectacle, between the story and the image, between the representation of the action and the pure movement, or between mythos and opsis in cinema. Each chapter will focus on specific moments where such tension became a discourse, appearing both in films, as well as in criticism and theory. Far from wanting to trace any historiography, we take certain periods and canonical cinematographic movements (classic cinema, avant-garde, neorealism, nouveau cinema and cinema of flux) because they were moments in which there was the emergence of a discourse of affirming something in the films that permeates or pervades the story. This “something” appears with great emphasis in the discourses: action (cinema of intrigue), movement (French avant-garde), reality (Italian neorealism), time (nouveau cinéma) and atmosphere (cinema of flux). More than historical categories, such periods would be inherent moments of a symptom where what is unrepresentable seems to want to insist, in some way, on representation. It seeks to trace a provisional genealogy of a lineage of cinema that is made through a tension between intrigue and sensitivity, between myth and opsis.

The main object of this research is the solo spectacle Vozes do Cruzêro and this creative process, developed and staged in an articulated dialogue between scenic practices linked to theater and two contemporary artistic expressions from the Zona da Mata Norte of Pernambuco brazilian state: 1) the Cavalo Marinho and 2) the Maracatu de Baque Solto. Among the operating principles identified along the creative path, the archetypal image of the Encruzilhada (crossroads) stands out, from which emerges the figure of the Caboclo, elected as the driving force of the process. The image of the Caboclo is studied and approached here through the recurrent manifestation of its presence in different religious and artistic practices of the Zona da Mata Norte: the Cavalo Marinho, the Caboclinho, the Maracatu de Baque Solto, the Umbanda and the Jurema Sagrada. The main objective of this study was to transform this poetic material, in associative dialogue to the scenic practices of the theater in the contemporaneity, and also to bring it to a solo staging, in which the author of the thesis acts as actor- director, translating the path of a cabocla scene that is an expression of what in the course was called cabocla epistemology. The research assumes a comprehensive and transdisciplinary artistic character, inspired by the approach to scenic creative processes proposed by Sonia Rangel, based on the intersection of thoughts from different strands, especially from the field of the Imaginary, in the perspective of thinking through images of Bachelard and Durand. In the field of scenic creation, poetic procedures are adopted inspired by the author's experience along with the proposals developed by the Lume Teatro, in dialogue with techniques and practices learned from the sambadores of Maracatu and Cavalo Marinho. In the line Poéticas e Processos de Encenação do Programa de Pós-Graduação em Artes Cênicas (PPGAC-ETUFBA)), the spectacle integrates the thesis not only as an illustration of a poetic thought, but as a material and immaterial result, whose scenic creation and dramaturgical writing share the same authorship and the same operating principles.

This research outlines a proposal for a theoretical-practical vocal pedagogy intertwined with the author's teaching and theatrical experience, spanning from her undergraduate studies in Performing Arts to her development and refinement as a vocal practitioner, covering 13 years of voice-related experiences. It is also grounded in knowledge from dance, music, somatic education, as well as philosophy, weaving what is referred to in the thesis as the "desiring voice." In this context, the creation, development, and analysis of practices conducted in rehearsal rooms in 2019 during her teaching internship within the Laboratório de Criação (Creation Laboratory) course at the Federal University of Bahia are presented. Additionally, workshops conducted in partnership with the Teatro Vila Velha between 2019 and 2022 are discussed. The hypothesis is that, due to the multiplicity and diversity of artistic languages found in the contemporary scene, the performer works at the limits of their own being, demanding different modes of activation and listening, revealing practices that creatively encompass their physical and sensory body. Given this, this thesis presents the foundations, general aspects, poetics, as well as the methodological structure of such vocal practice, aiming to enhance the performer's perception and sensitivity within the context demanded by contemporary theater. This journey reveals the voice as a dance act, resonating the uniqueness of individuals and presenting itself as an enunciative act.

Through a series of notes and essays, he presents a comprehensive and multifaceted approach to the learning process of the Theater teacher. Throughout this writing, they cast discursive views that seek intersections between the [trans]training of teachers and the Institutional Program of Initiation to Teaching Scholarship – PIBID, examining their correlations and their impacts on the construction of our profession-memory. The research focuses on some main axes: Public-Policy, Memory,  and Autopoiesis. These axes are examined through an interdisciplinary lens that benefits from the contribution of different areas of knowledge, such as Philosophy, Politics, Social Psychology, Education and Biology, building an intrapersonal perception about the teaching practice. The notes and essays are independent in their reading, allowing for non-linear exploration. However, together they converge harmoniously, enriching the understanding of teacher learning as an intrinsic characteristic that manifests itself in professional practice. By encouraging the rediscovery of oneself in each educator, this work offers an enriching perspective on the teacher's role and their own practice, the latter as a vital tool for the continuous evolution and improvement of their professionality.

Esta disertación busca presentar un esquema sobre la aplicación de la música en la construcción escénica, con el fin de consolidar el concepto de dramaturgia sonora. Aquí se analizan tres elementos de relevancia sonora, que están presentes en toda obra teatral: la banda sonora, el sonido y la musicalidad de la escena, dirigiendo y moldeando recursos para la comprensión y creación musical en el teatro. En la práctica de investigación se utilizaron juegos sonoros teatrales, juegos sonoros musicales y juegos rítmicos. Además, se realizaron y analizaron entrevistas con los profesionales del teatro, Luciano Salvador - Bahia y Gil Vicente Tavares. También se analizó el proceso de dirección musical de la producción del espectáculo Biro Lírico Para Café Concerto a través de entrevistas con el Prof. Dr. Reginaldo Carvalho, la actriz y Profª Yara Pérez y la actriz Liana Pérez.

This research aims to discuss the clown musicians from the Brazilian semiarid region, focusing on the black music in the circus of Brazil. The goal was to find out how is the presence of the black music culture in the circus and how it contributes to the development and artistic quality of the scenes of the clown from the Brazilian semiarid region. We did a bibliographical research on the specialized literature about circus, clown and music to put the Brazilian circuses and their formats in context. We identified in which context the music and the clown-musicians develop their skills in the circus, emphasizing these presences through the black clownmusicians Benjamim de Oliveira, Eduardo das Neves and the clown Xamego. In order to elucidate such questions, folowing the drop in the number of cases of the new coronavirus and with the permission of the competent organizations, we set out to field for the case study having as focus the Transmundial Circo, that was splitid into three other circuses: Javem Circo, Circo Coimbra and Circo Estrela. In the case study, we interviwed the clowns: Javem, Sonrisal and Palitinho, who, through a semi-structured interview, revealed their musical processes, as well as their trajectories from the Transmundial Circo to the present day. Finally, by a qualitative approach through discourse analysis, we cross-referenced information regarding ethnic-racial and laughter issues, besides to consolidate the black music thoughts present in the circus. In this regard, the research becomes a strong ally in the anti-racist struggle through comedy, as well as points to decolonial thinking in the musicality of clowns. We concluded that this research is very political, in which we based that the black music in the Brazilian circus is biased by the cultural appropriation that mask with "white pancake" the artistic/cultural processes of the black people, operated by the structural and racist system that drives the phonographic industry, leading us to perceive black music as being white, coming from colonialist principles.

Cette thèse vise à analyser une expérience d'enseignement du théâtre dans les écoles publiques afin de discuter des questions ethno-raciales en milieu scolaire avec les enfants dans une perspective afrocentrique, selon l'approche de Molefi Asante, qui a les Africains comme sujets et agents actifs dans la culture. en société. Pour cela, une analyse de l'expérience théâtrale a été réalisée avec les contenus curriculaires de l'autoportrait, des contes africains et afro-brésiliens, dans la composante curriculaire du Théâtre de l'éducation de base de la ville de Salvador, dans deux écoles du réseau municipal , sur la base de la mise en œuvre de la loi 10.639/03, qui prévoit l'enseignement de l'histoire et de la culture afro-brésiliennes en milieu scolaire. Parmi les objectifs de recherche, se distinguent les suivants : réfléchir sur l'enseignement du théâtre dans les écoles publiques, dans une perspective afrocentrique ; souligner l'affirmation de soi des élèves en tant que sujets puissants et actifs dans la société; montrer comment l'expérience théâtrale peut contribuer à valoriser l'histoire du peuple noir et à l'effectivité de ladite Loi. Parmi les différents auteurs qui soutiennent la thèse figurent Djamila Ribeiro, Carla Akotirene, Kabengele Munanga, Stuart Hall, Paulo Freire, Augusto Boal, Maria Eugênia Milet, Ana Mae Barbosa, Olga Reverbel, entre autres. L'expérience a révélé des changements dans les attitudes des élèves envers leurs autoportraits, dans l'aboutissement théâtral et dans la relation avec les collègues de l'école, mis en évidence dans les témoignages et les questionnaires auxquels la communauté scolaire a répondu. Enfin, elle a donné lieu au déroulement d'une autre expérience réalisée en éducation de la petite enfance.

At the beginning, this work carries out a historical survey of some information about the Escola de Teatro da Universidade Federal da Bahia (the Performing Arts School from the Federal University of Bahia, a state in Brazil), Teatro Martim Gonçalves (Martim Gonçalves Theater, also known for its initials, TMG) and its founder, Eros Martim Gonçalves himself.  Based on this context, through official reports and old box office registers that could be recovered, a series of data is presented regarding the public that attended the TMG between 2009 and 2018. Given the maximum capacity of the audience, which is 192 seats, the average number of spectators is calculated for each play and each reported year.  The most relevant points are commented on in a brief interpretative analysis.  We then set out for a reflective discussion dialoguing with authors who have dedicated themselves to researching, understanding, and theorizing the problems and nuances of the relationship between the public and theater.  The whole is concluded with indications of possible paths and strategies to be studied and adopted so that the Teatro Martim Gonçalves always has a "full house".

This investigation, of a theoretical-practical nature, fits into the perspective of an ethnography that is also an autoethnography. It is a thesis-creation, a junction between a creative process and its artistic developments and the written text. Its object is the process of scenic creation and writing, which emerged during the practice of a laboratory of creation in dance-theater, referenced in the Bauschian creative process and in the use of memory as a resource for body work and for self-writing. The laboratory had the participation of women, between 20 and 36 years old. The general objective was to understand how the creative process affected the self-writing of the interpreters-creators, through the work of scenic elaboration of personal memories. The creative laboratory provided a privileged space for listening to oneself and others. The methodological operator in this thesis was the creative process of dance-theater as inaugurated by Pina Bausch, in which memories and body and discursive writings play a leading role. In this case, and unlike the processes with Pina, only women were part of the laboratory and the final scenic experiment. Two categories at the academic-poetic confluence emerged as a result of this research: encorewriting and the cyclical triad word-body-writing. Among the results, there are description and analysis of the creative process and the scenic experiment, where the characterization of a singular writing emerging in the process, and a spiral of creation, as well as a discussion about feminine subjectivation modes and feminine writings are located in the production in the arts, activated and recognized in the process of scenic investigation.

ABSTRACT

A series distributed via Netflix streaming platform, the first season of The Mechanism is said to be freely inspired by the real events of the Brazilian Car-Wash operation (Lava Jato) which was created by José Padilha and Elena Soarez, produced by Zazen producer in 2017 and distributed by Netflix streaming platform in 2018. Having as the basis of his television drama, the book of Valdemir Netto intitled Car-Wash: Judge Sergio Moro and the Behind-The-Scenes Story of the Operation That Shook Brazil (original title: Lava Jato: O Juiz Sergio Moro e os Bastidores da Operação que Mudou o Brasil). The present work starts from this title as a case study to verify the hypothesis that his television drama shined through an imaginary of political myths and mythologies, operating in the strengthening of the Car-Wash operation fictional spectacularity along with the Brazilian media-political spectacle of the time. For this purpose, the thesis is structured in three chapters that privilege different approaches to the theme, whose objective is to steam from broader issues of the political spectacle to come to details related to the book. In the first chapter, a theoretical review is held, bringing to light Roland Barthes' (2009) semiotic vision of myth and the definitions of mythology, specifically the political mythology of Raoul Girardet (1987), as well as aspects related to the political image and spectacle involved in the Car-Wash operation. In the second chapter, the thesis narrows down theoretical aspects of the television drama, mainly from the perspective of Comparato (2018) and Pallotini (2012), and, subsequently, makes a detailed analysis of the main dramatic arcs of The Mechanism and its subplots. In the third chapter, there is a fusion of findings from these two previous chapters, detailing the political mythologies intertwined to the political spectacle implicit in the book, as well as findings from their political mythologies involved in the speeches of its creators. Finally, the thesis problematizes its findings, especially as to a kind of dramaturgy of which the mentioned series is part, whose fiction overflows a factual interpretation, that is, a narrative game between the political myths of the series with the factual myths of the political spectacle of the time.

The research proposes an investigation of the props inserted in the theatrical scene, takes the notions of semiology and phenomenology as a focal perspective. From the revisiting of the chronicle of material objects throughout its historiography, passing through concepts and theoretical foundations of studies of theatricality, performativity, theater, along with examples of staging and directors, with a special focus on the modern mise-en-scène. It proposes a reflection on the operation of objects within the scenic event, in its most variable aspects, considering its intrinsic relationship with the other elements that constitute contemporary staging. The hypothesis is that the object has always operated since its beginnings, acting effectively from the pre-theatrical sphere, later in the domain of the scene, mainly throughout the 20th century, for the effective validation of several theories, procedures, thoughts, and theatrical concepts, consolidating modern and contemporary staging as scenic material - its directors, playwrights, and researchers - with a direct implication for this strengthening. it is examined from a contemporary approach to recognize the “scenic object/props” as an active agent of theatrical staging or, more, as a basic tool of “scenic writing” in some contemporary theatrical manifestations. Thus, the study proposes for a conceptual uplift of the “scenic object”, reassessing its “supporting role”, with the intention of creating new theatrical debates, especially for the contents about the composite visual elements of the scene.

The ground on which we move is the ground that moves us.
With each new circumstance, adversity, and crisis, the
ground can suffer cracks or open completely beneath our
feet. Moments of radical instability make urgent to invent
new grounds capable of sustaining us and driving us into
other ways of being and acting in the world. The present
thesis, whose methodological path is cartography, was
designed concomitantly with changes in social and
psychosocial fields. This thesis was written in the midst
of the pandemic crisis associated with the political crisis
that is currently ravaging the Brazilian floor. It is
through cartographic writing, on a floor in the midst of a

falling apart time, that the proposition of a body.floor,
as a practice of art.life, was germinated. A practice
exercised over two editions of a remote laboratory composed
of a set of movements. It aims to experience the possible
intertwining between creating and healing. Movements that
resonate with each other as life intensifiers.arte. Ideas
corroborated by authors such as D.W. Winnicott, Suely
Rolnik, Silva and Desideri, Antonin Artaud and Dewey, among
others. A laboratory composed of creative and curative
movements: transformational actions activating disruptive
movements that produce fissures and dislocation. It could
cause other changes in the body itself, with the other body
and with the environment. The actions experienced are
movements that make up a process interested in break up the
habitual that freeze us in stiffening behaviors. The
laboratory is interested in enable a space, which each
participant to experience transmutations of their
plasticity into different body possibilities. It allows
distinct limits, a body.crossing that is experienced in the
place of in-between. One as a porous body in a relationship
of un.learning with the things around it. This writing is
also sewn by the participants' speeches.movements. It works
as a compass indicating the paths opened in the bodies and
the net of affections produced throughout the laboratories.
The thesis is also crossed by a writing.imagery. The text
is composed of collages produced during the research
process and images captured from online meetings, frames
that express bodies in a state of experimentation. The
present cartographic research is interested in
experimenting, discussing, reflecting on the elaboration of
a body.floor: a body energetically grounded on the floor,
which expands and retracts in the pneumatic pulse and is
co.moved by creative and healing movements. We seek in
this thesis to present an experience that took place in a
remote environment due to the pandemic circumstances. But
the research continues to move to experience other body
movements in the face-to-face environment in the university
context. It is relevant to continue proposing spaces aimed
at moving experiences and coexistence. Co.moving bodies,
sharing a movement starting from the possible, between what
moves, and what moves us. Experiences that invite bodies to
a vibrant life. Movement to go to the floor of the body and
the body of the floor. Movement to make floor with the body
and body with the floor. The ground connected to a
knowledge of the body; a body connected to a knowledge of
the ground.

Abstract:

This doctoral thesis is a reflection on the Outflow Dance, by Ceará artist Sílvia Moura, whose organization is in the form of an archipelago and is assembled in two versions; one made up of writings and images and the other recorded in oral form. To let off steam is to share what bothers you, loosen the knots in your throat and, thus, make room in your body and in your relationships. Stitched up by personal accounts, under the experience of anxiety neurosis (panic disorder), it is an outburst whose function, in addition to the author's survival, is to propose a dialogue between dance, psychoanalysis and the concept of precariousness. These writings are directly affected by the socio-environmental-political moment in which we live: pandemic and the rise of the far right, two collective traumas that are difficult to treat. With that, I want to say that Outburst Dance is an intense flow between personal and collective, a call to continue, despite everything.

This thesis aims to propose the creation and teaching of the discipline “Popular Cultures” for
the Theater Technical Course of the Centro Estadual de Educação Profissional Isaías Alves
(ICEIA), in the State Education Network in the city of Salvador, Bahia, presenting as a
suggestion a Teaching Plan aimed at popular and theatrical education in a perspective of
curricular change for that course is feasible. It traces a historical-social-educational panorama
about Art-Education in contemporary times, discussing and analyzing the current and
different trends and conceptions of the teaching of Art in education. In addition, it brings
current approaches to the concepts of culture, folklore, mass culture, erudite culture, cultural
identity, popular cultures and how these concepts can bring significant contributions to the
teaching proposal of the discipline “Popular Cultures”. Through the themes
“Multiculturality”/”Interculturality” it enables analyzes from the point of view of
contemporary authors and researchers, their concepts and their common characteristics in the
search for an egalitarian and inclusive education. Finally, the research describes the practical
and pedagogical experience of the students that culminated in the scenic show which was all
held and worked in a virtual way, bringing to the center of the discussions a new model of
Theater teaching during the COVID 19 virus pandemic whose The objective was to work
with Popular Cultures providing students with theoretical and practical experiments and
affirming the importance and artistic and theatrical contribution of a discipline of this nature
to the ICEIA Technical Theater Course and also to the school.

This thesis describes the experimentation path of Theater teaching pedagogical practices based on songs from the capoeira universe. The investigation was built on artistic-pedagogical practices with different audiences and contexts, among workshops for amateur artists in cultural spaces, preparation of actresses/actors, and students in high school classrooms in the state education system. In the different environments and contexts, songs were introduced as triggers of processes, and we experienced developments in creating games and body dynamics, which were productive regarding the theatrical production. The choice for the capoeira song in theater classes was due to the importance of working the body in a broad, sonorous way, with its meanings and memories emerging through the feeling of belonging that one has when coming into contact with such songs. Therefore, working with capoeira songs, both with actresses/actors and with Basic Education students, demanded, especially of whom conducted the process, understanding the etymological principles related to metaphors and poetics belonging to the cosmovision govern the body and the thought of those who live capoeira. In addition, it is still added to the constant process of personal investigation of the actress, researcher, teacher - singer - in front of practical experiences and experimentation with the songs of capoeira to expand, connect, taste, and discover other paths and possibilities of bodily work/vocal for the scene, pointing to the development of decolonial pedagogical practices for the teaching of Performing Arts.

This dissertation presents a reflection on the ethics of theatrical performance, based on the experience of theater group Esquadrão da Vida, founded in Brasília in 1979 by the author’s father, Ary Pára-Raios (1939-2003). The research advocates the idea that there is no theatrical performance without ethical implication, which in turn can produce transformative experiences both personal and social.

The dissertation was written in the form of letters to the author’s father, describing and analyzing the history and trajectory of the group, as well as the creative process and staging of the play Quando o Coração Transborda. In the letter-introduction, ideas about ethics found in the discourses of indigenous peoples of Africa and America are interwoven with the production context of the theater group, whose history is mixed with the cultural history of Brasília itself. In the first chapter-letter, the focus is on Esquadrão da Vida, its inception, its identification with Brasília, its history.

The second chapter-letter deals with the creative process and the staging of the monologue Quando o Coração Transborda, directed and staged by the author. The third chapter-letter defends the importance of theater done ethically for a different world; the proposal is a manifesto to theater in this time of pandemic.

Uneasy body is a research in scenic poetics, in a practical-theoretical way, which seeks and exposes the uneasiness of an actress body that is immersed by the expansion of the senses, in contact with nature and its elements, for generate a solo performance, whose dramaturgy in process is also part of this dissertation. It is inspired by the artistic-comprehensive approach proposed by Professor Sonia Rangel, considering thinking by images as the dominant principle. The passport question is taken as a route guide: is it possible, through self-knowledge, the expansion of the senses, the discovery of genuine creative states, to reach a more subtle and affectionate level of scenic presence? The experience of the actress in various immersions is considered, the records in her logbooks, with her poetry of images, sounds and words. These records, of immersions carried out in Vale do Capão, Uibai, interior of Bahia and Salvador are mixed as a source of inspiration to the thought of the poet Fernando Pessoa, mainly by connecting ideas, both in the dramatic text and in the scenic text, to the writings of the Book do Desassossego, by his namesake Bernardo Soares, and poems by also homonyms Alberto Caeiro, Álvaro de Campos and Ricardo Reis, fragments that inspire the body of the actress-researcher in her unrest. Authors such as Eugenio Barba, David Le Breton, Gaston Bachelard, Sônia Rangel, among others, are added to the critical-reflexive dialogue. When raising questions in these specific immersion situations, the researcher experiences and poetically discusses genuine movement, physical memory in a body that puts itself in a 'state of poetry' and in self-knowledge to better be, feel and perceive the world as an experience, when and where scene and life intertwine.

The research seeks to relate the stage lighting to the discourse of the spectacle, based on the principles of the drama, in order to dissociate it from the exclusively technical or virtuous character, defending its poetic nature and its importance in the realization of the discourse and narrative of the spectacle. For this, it demonstrates the narrative power of the image and its ability to define the layer of the narrative to be approached, from the focus on intrigue, characters and discourse. Using as a starting point the diagram of actancial analysis proposed by Greimas, and the forces present in the dramatic action, defended by Soriau, we propose the construction of a graph that visually represents the narrative flow of the spectacle according to the state of fortune and transformation of characters, and from this graph, the visual narrative of the spectacle can be elaborated based on the concept of language - light and its visual vocabulary, based on the poetic images present in the playscript. From the analysis of the light of the montage of the spectacle Something unspoken by Tennesse Williams, it is demonstrated how these proposed images can be physicalized and made effective in the presence of stage lighting. Thus, it is concluded that the existing methods and manuals are important to assist the execution and effectiveness of stage lighting. But each light designer will propose a language - light and a distinct visual vocabulary, with different images, based on their experiences and personalities, making the light of each spectacle unique.

From the trajectory carried out by the director with the Teatro da Queda collective and based on the analysis of the staging of the shows Madame Satã and Afronte Akulobee, the work presents possible discussions at a crossroads between the scenic arts; gender and sexuality studies; and ethnic-racial relations in the director's formation process. The dissertation reflects on different possibilities of self-writing, through the bodies of black bixas as devices for an Afro-fabulation – a concept proposed by Tavia Nyong'o that indicates the exercise of fable beyond representation: inventing, forging genealogies, affiliations, temporalities, images, files, events and make them a powerful scenic expression strategy.

This work is inserted in the context of artistic researches, more specifically in the field of Pedagogical Theater, with an emphasis on the study and elaboration of contents for the teaching of Theater in basic education directed to black cultures and racial relations. The object of this work is the “MUSICENAFRO at school: systematization of a black-referenced pedagogical proposition in Theater”, intended for the formal context of education as well as for elementary school children in the early years. This proposal is designed for a future implementation, during the school year in a public school in Salvador, Bahia, in the return of classroom classes after isolation by the current pandemic. The exercise developed by this research is to think of a black-referenced pedagogical plan in an expanded way, ranging from the theoretical foundation of the theoretical-methodological options, passing through the detailing of actions, finally reaching the creation of games. In this process, a conception of black-referenced pedagogy in Theater was delimited, identifying some pedagogical practices with this characteristic, in order to present the theoretical-methodological guidelines that underlie the proposed plan. One of the main questions that drive the work is: in what ways can race relations, black identity and black cultures be worked on in elementary school – early years? The methodological strategy of this plan is characterized by the use of music (lyrics, sounds, rhythms, etc.) as a trigger for working with the scene, based on the theme of black identity. In this case, the musical universe visited is the pagode (using songs by singer Léo Santana) and the samba-reggae (coming from the musical group Ilê Aiyê). The problems presented were based mainly on the authors: Viola Spolin (2001), Augusto Boal (2006), Kabengele Munanga (2020), Fausto Antonio (2015) and Rosana Souza (2016). It is believed that this triple articulation "musictheater-identity" can enhance and facilitate the work with themes such as ancestry, self-esteem, respect for differences and black identity in elementary school.

Esta disertación analiza los contrastes entre diferentes principios político-pedagógicos que sustentan, por un lado, las prácticas teatrales presentes en la Base Nacional Curricular Comum (BNCC) y, por otro, de organizaciones populares y movimientos sociales y también de sectores de la educación formal. Para ello, se analizó la enseñanza del teatro prevista en el BNCC, a partir de la injerencia de redes políticas (formadas por agentes privados y públicos) y sectores conservadores en su formulación. En el trabajo de campo se observaron ejemplos de prácticas pedagógicas teatrales en el contexto de la educación formal y también de los movimientos populares, siendo los primeros la Escola Municipal Conjunto Assistencial Nossa Senhora de Fátima, ubicada en el Alto das Pombas y, los otros, la Casa do Sol, una organización no gubernamental, ubicada en Cajazeiras V, y el Teatro do Oprimido del Movimento dos Sem Teto da Bahia (TO- MSTB). Esta disertación también identifica las diferentes concepciones de las prácticas teatrales, evaluándolas a través de cuatro pares dicotómicos: confianza o competitividad; participación crítica o conformación; solidaridad o individualismo; y estandarización o transgresión. Las prácticas teatrales demostraron las posibilidades de una práctica diferente a los moldes conservadores y liberales propuestos por el BNCC. La teoría-práctica elaborada por el sector popular representa una poderosa perspectiva en oposición a la educación teatral presentada en los nuevos marcos del BNCC. La experiencia de campo en el ámbito de los movimientos sociales articulados al Teatro del Oprimido y las Obras Didácticas, a partir de Augusto Boal, Bertold Brecht, así como los aportes de la Educación Popular (Paulo Freire), muestra un terreno fértil para construir otras formas de resistencia y puede contribuir al reposicionamiento de la educación teatral, facilitando el surgimiento de otras formas de actuación teatral, entre el contrapunto y la resistencia.

This is a practical-theoretical investigation conductec by the main Question-Passport:
How does an actress create through Images? Inspired by the Artistic-Comprehensive
approach proposed by Prof. Dr. Sonia Rangel, the actress proposes play with seeing her
personal cosmos, starting from the exercise of scenic laboratory creation to test a
multiplicity of responses. In this poetic journey, the scenes were born concomitant to
the creation of her dramatic writing, which also makes up the thesis taking on the lyrical
form in a Contingent Dramaturgy that generated the staging entitled Telescopes to Open
Space, object and goal of this research. The methodology includes the Creation
Laboratories, internal and/or external ones. In addition, there are five compositional
strategies articulated by the researcher: Place to Spy, Questions-Passport, Poesguia,
Altars-Installation and Image Generation. However, the following Guiding Principles
stand out: Thinking by Images, The Exercise of the Transver, The Mythopoietic and
The Experience and The Reverie. Such principles are motion forces in the process,
peeking out the possible insurgencies in the generation of Images, especially in the
Mythopoietic Figures. These figures are called Lunetas (Telescopes) and they make up
the actress's doubles on stage: Suzana, Kassandra and Lilith Myth. On the study about
herself and in order to perform her create-thinking process, the actress's operation
modes through her scenic poiesis with Images are recognized: an actress-poet look is
forged. The research dialogues with the Theories of the Imaginary, Lyric Literature,
Contemporary Theater and with Analytical Psychology, among other fields. It is also
aligned with some theorists and poets thoughts like Adélia Prado, Alba Liberato, Carl
G. Jung, Cleise Mendes, Gaston Bachelard, Jorge Larossa, Joseph Campbell, Lita
Passos, Manoel de Barros, Matteo Bonfitto, Fernando Pessoa, Paul Zumthor, Peter
Brook, Sonia Rangel and others.

The present work consists on the study and analysis of dramaturgical works that were inspired by historical events. Throughout this research, we have analyzed works composed by different authors which belong to different times that have contributed effectively to the western world dramaturgy. There were several strategies used by these historian playwrights to recreate historical events in their works, and we can see that the playwright often chooses to dwell on a certain historical person in order to compose a character from there that shall allow us a literary experience that broadens our view about a certain historical event. In the course of this work we bring playwrights of Classical Antiquity, Renaissance, Romanticism, in addition to contemporary playwrights who used different methods to write their works of historical foundation. With this research we try to understand how dramaturgy and historiography are interconnected, how historiography contributes to dramaturgy and what are the different strategies used by playwrights to recreate the historical events in their works. 

This research explores the traditional dances of the Murui-Muina indigenous people in the city of Leticia-Amazonas, in Colombia. Traditional dances are complex events that require an aesthetic, historical, political and mainly practical approach. This research analyses bodily gestures and movements in daily actions that prepare the dances. I also examine native concepts, such as the concept of rafue, and particular aspects of the Murui-Muina language, as clues to understand the bodies that work and dance together. The research digs into the actions that take place in traditional Murui-Muina spaces such as the chagras, the mambeaderos and the malocas. Similarly, it explores into the processes of transformation of substances, food and objects that are shared in these spaces: fruits, mambe, ambil, cahuana, casabes, baskets and dance sticks. The work proposes that it is in these processes of transformation of substances, objects and gestures that bodies are constituted as ways of being. 

In order to understand the complexity of the Murui-Muina dances, this research proposes tracing a historical journey, passing through the enslavement of the indigenous populations in the Amazon, at the beginning of the 20th century, in the so-called rubber exploitation era, until the displacement of these peoples to new territories such as the city of Leticia. This panorama is presented as a way of understanding the social relations that were reconfigured, and the role of dances in such a context. The research develops a movement ethnography, which dialogues with elder and young Murui-Muina people and Murui-Muina leaders, as well as with authors related to the Anthropology of Dance, Ethnocenology, Anthropology of the Body, Gesture Studies, and Ethnology of Amazonian Societies. The writing process is concerned with giving words to the body and body to words. It aims an experimentation, through practice, of the aesthetic principles present in the Murui-Muina dances. It is an invitation to the Performing Arts field to expand the notion of traditional dance, understanding together with the Murui-Muina, that there is no dance without bodies, nor bodies without social relations, nor social relations without language, nor language without work, nor work without food and no food without land.

This thesis proposes to look at the works of the Ateliê 23 company that make use of biographical and documentary material, intending to reveal the Scenic Bionarratives as a possible path in the construction of empathic movements between actor and spectator in favor of lives considered precarious. Considering the research object as an interdisciplinary field mediated by the look of autoethnography and cartography, its construction takes place by summoning interdependent notions, but fundamental to the understanding of the crossings that the group investigates on stage, ranging from performative theater to cognitive neurosciences. The investigation is based on revisiting the creative path of the works Persona (2015), On the lovely feeling of being useless (2016) and Helena (2018) by observing process documents, trends and testimonies of creative artists, from a critical perspective of creative processes. The research points to the use of pain and violence devices by the group, with the intention of elaborating new relationships with the spectator, imbued with guiding concepts such as the precarious condition of life and the aesthetics of shock. The spectacle, as an intended possibility in the production of presence and experience, combines with the notion of meaning as an activity of mirror neurons – fundamental to the construction of empathy as recognition of oneself in the other. The research, therefore, tends to conclude that the use of the live document on stage reverberates in the perception of consciousness and dialogues with the power of commotion that art has, as a political act of existence and survival of a community.

This thesis is the reportability (Coulon), of a personal dance as a research, guided by qualitative multi-referential thinking (Borba, 1997). The study situates the creative procedure of the show / project / research entitled: Entremeios Desfílias, involved in the aesthetic matrixes of Guerreiro de Alagoas, and in the formation of artists of the scene. Entremeios are short dramatic representations, or figures, present in the Warrior of Alagoas. The investigation bases the subject, the path and the object (Bião, 2007), in the proposal of a “cynical” dance. The contextualization to do my “cynical” dance, started from the assimilation of the term: personal dance, disseminated by the LUME group, the dancer as the idealizer and builder of his scenic body that is realized as a research practice. The study answers the following questions: Would it be possible to build this personal dance, since the body of the researcher dancer was not trained in Butoh, and yet, without experiencing the personal dance, which took place in the LUME space? Would the interleavings, in Guerreiro Alagoano, have the same function as the Portuguese and Spanish interleavings, seen as a relaxation, as entertainment, between longer performances? Guerreiro Alagoano can be used as an educational facilitator, in what way? The questions were confronted by the hypotheses, supported in the body of the thesis. The methodology occurred within the scope of qualitative research emphasizing the subjective character of the object, its particularities and individual experiences (Pádua, 2012). Individual training reached the organization of the intermingled corporealities, systematized and directed as ethnomethods (Coulon), in body preparation exercises, applied to dance teaching, in the search for an authorial body, both mine and the students. In this way, it questions the researcher, his trajectory and the object, interspersed, in his circumscription in traditional Brazilian dances. The path to the methods was structured in stages: bibliographical, documentary and empirical analysis; registration of the creative process, logbooks; interviews with players and researchers, video of the creative process; training analysis; in application in body workshops, for dance students and actors, in training spaces. The guiding theoretical line, in its transdisciplinary character, is the Multi-referential approach, by Jacques Ardoino (1927-2015), transversalized by other knowledge, such as Ethnomethodology (Coulon, 1995) and Ethnocenology, planting seeds in the concepts of the cynical movement of Antiquity (Caze). The experience in creation / disfigurement and training with the intermingles, in general, has reverberated as an independent and contemporary work, which uses the powers of these places of identities, among which, I transit, examining the pedagogical and artistic limits, of these figurations / disfigurements, of my body memory.

This research aims to investigate choreographic projects created to be executed by non-stable groups. Thus it sheds a light on two central aspects: the choreography's structural characteristics and the procedures and strategies used by the choreographers intending to spread the proposed works. The context in which this research is developed, marked by the current phase of capitalism, characterized by flexible work and by projects, agrees with a rising number of artists of the Contemporary Dance proposing compositions of this nature, in a way that this format has consolidated as an important trace of the current production. Central concepts such as Choreography and Contemporary Dance are revisited from the idea of Shared Community proposed by me and derivative of the concept Reflexive Community LASH (1997). As sampling, the research dwells on brasilian artists production and verticalizes on my own choreographic production, having the notion of choreographic experience of the author as a privileged environment of observation. Therefore, it maintains a dialogue with eminently qualitative methodological issues such as the use of practice, experience, and it utilises the resource of writing in the first person as an important tactic.

“Now I was, now I am: the poetics of staging with the performing children” is an interdisciplinary and a multi-referential study in different levels of investigation it focuses on efforts to understand, reveal, resignify, and investigate through the poetic-reflective way, procedures and principles that generate creation which, based on the experience lived, show themselves to be important for doing theater with and for children, an activity that the researcher-educator-artist develops over a 25-year journey: from 1995 to 2020. In this sense, this thesis acquires characteristics of participatory research, with the researcher inserted in the field of her object of investigation. In tracing the proposed poetics of staging, it shows as specific objectives the elaboration of meanings about the subject-children in the psycho-bio-physical-cultural dimensions; about art and imagination; and it presents and investigates scenic creation processes with and for children. The spaces-territories of the poetic experiences are analyzed and, in differentiated circumstances, constituted the methodological itinerary, namely: The Vila Velha Theater, the Art Education Center Hora da Criança; the Research Center Moinhos Giros of Art, Culture, and Communication; and the theater group Companhia Novos Novos, the poetic object of the research in the investigation of scenic creative processes with children on stage and in the audience. The methodological approach is inspired in the artist-educator-researcher Sonia Rangel’s poetic pedagogy. The theoretical-philosophical expression is woven from Gaston Bachelard’s thought, through his phenomenology of poetic imagination; from Merleau-Ponty’s phenomenology and his impressions of children’s uniqueness; from the lived experience in Jorge Larrosa’s proposition; from the game-theater as a contemporary practice aligned with the positions of Ryngaert and Peter Slade; from John Dewey’s thinking-creating-feeling of art as an experience; from the artistic-educational foundation as an ethical-political-social principle of the artist-educator Beth Rangel; from the investigation of a performative pedagogy to the conception of the studies by Josette Féral and Richard Schechner. In the scenic creative path, three dominant principles are presented to the staging poetics that are investigated and proposed here: the Hope-Play, the Imagination-Poetics, and the Meeting-Experience.

This is a practical-theoretical investigation of the scenic composition, configuring
a work centered on the interpreter, having as main axis the search for vocal singularity
as a trigger, formulator and result of the scene. Inspired by an Artistic-Comprehensive
perspective, proposed by Professor Sonia Rangel, we seek to identify Principles in the
Procedures themselves in order to configure the thinking implicit in carrying out the
work and thus, in their journey of experimentation and summoned by it, the relations
with the theoretical-conceptual aspects are created and expanded. As conditions of
this search we add up a reflection of the author as an actress and teacher in a brief
dialogue with a historical-critical record about the voice research in the work of the
actress and actor and, mainly, her practice as a researcher in the specific field, with the
conducting and critical evaluation of workshop-laboratories and scenic experiments. In
this poetic doing-reflecting, the expressive elements of the actress and actor are
revealed as uniqueness in search of a sound language prior to the words. In this
reflection, dialogue is established mainly with the ideas of: ARTAUD, Antonin;
BACHELARD, Gaston; GROTOWSKI, Jerzy; JUNG, Carl Gustav; LISPECTOR, Clarice;
RANGEL, Sonia Lucia; STANISLAVSKI, Constantin; and Thecok, Michel. The following
principles stand out in the methodology: Listening in Depth, Presenting, Vocal
Strangeness, Intimate Exposure and Autonomy of Composition. As a result of the
research in response to the question: “how can the expansion of voice awareness
integrated with the bodily-emotional-imagery aspects of the interpreter collaborate
and lead (to make it come out through the mouth) processes of creation, staging and
scenic dramaturgy? ”, the thesis points out artistic-pedagogical paths for the vocal
investigation of the actress and the actor through the proposition of exercises; it brings
critical-creative reflections, aiming to contribute with professionals and amateurs
interested in an experimentation in practices aiming at the expression and the
singularity of the voice.

This research is part of a poetic-reflective context at the intersection of three fields: Creative Processes, Candomblé and Theater. The triggering object is made up of the approximations, tensions, reflections and problematizations of the Candomblé-Teatro binomial, established in the researcher’s poetic journey, who, in more than ten years of theatrical practice in the professional scene, delivered nine productions: Siré Obá – A Festa do Rei; Ogun – Deus e Homem; Oyaci – A filha de Oyá; Exu – A Boca do Universo; Kanzuá – Nossa Casa; Macumba – Uma Gira sobre poder; Traga-me a cabeça de Lima Barreto; Oxum; Pele Negra, máscaras brancas, all derived from the scenic research Ativação do Movimento Ancestral and which resulted in the creation of the Teatro Preto de Candomblé poetics. In this formative and creative itinerary, we aimed at carrying out a study on Afro-diasporic staging and acting and to identify and examine how the theoretical cruisers of the scene – Ancestrality, Afrocentricity and Crossroads – combine with the guiding principles of the stage director's theatrical poetics – Myth-poetic Narratives, Ritual Theater and Today’s Tradition – and generate the guiding procedures for scenic creation. In this context, a brief study on Candomblé rituality, anthropology and history is presented, considering its contribution to the poetic construction of Teatro Preto de Candomblé, through a comprehensive approach and a critical ethnography in dialogue with authors such as Denise Carrascosa , Eduardo Oliveira, Leda Maria Martins, Luiz Rufino, Molefi Kete Asante, and the thought of Sotigui Kouyaté, Carlos Vaz, Peter Brook, Eugenio Barba, Inaicyra Falcão, Juana Elbein Santos, Marco Aurélio Luz, Luis Nicolau Páres and Renato da Silveira. In addition, there are interviews with important names in Brazilian theater such as Evani Tavares, Lucélia Sérgio, Iléa Ferraz, Lázaro Ramos, Ângelo Flávio, Zebrinha, Gustavo Melo, Luiz Marfuz, among others. In the research, five shows are examined in the light of the construction of the assumptions of Teatro Preto de Candomblé, namely: Siré Obá – A Festa do Rei Oyaci – A filha de Oyá; Traga-me a cabeça de Lima Barreto; Ogun - Deus e Homem e Pele Negra the latter being the main focus of convergence between the creative processes, the theoretical cruisers and the director's poetics.

ABSTRACT

How a documentary screenplay can concentrate affection, memory, spectacularity and performance, by dealing with an historical event, such as the last show of two Brazilians seminal artists, Gilberto Gil and Caetano Veloso, held in July 20 and 21 1969, right before both of them are obliged to leave Brazil for an exile inflicted by the repressive apparatus of the dictatorship existent in Brazil (1964 to 1985)? This question guides what this thesis intends to carry out, proposing a creational-research that results in the writing of the first treatment of a screenplay for the documentary film Um Axexê for Tropicália. In this way, this study aims to auscultate points of convergence between dramatic / dramaturgical and audiovisual narratives, in order to build a performative / theatrical working sheet, in the form of a script for performative documentary, capable to deal with affection and allegory, tensioning boundaries between performance and reality; memory and fabulation; documentary and fiction; fiction and reality; performance and staging; documentary and staging; documentary and reality; and reality and staging.

For the central understandings of this study, we will consider a reflective panorama constituted by the theoretical views of the following authors: Henri Bergson, David Lapoujade, Bill Nichols, Cláudio Bezerra, Sérgio Puccini, Martin Eslin, Friedrich Nietzsche, Eduardo Leone and Jacques Aumont.

This research is aimed at analyzing the development of a cultural public project under the
traditional canvas and its contribution to make circus women occupy a prominent place in the
traveling circus, it also provided ways to promote the broadening of horizons of artistic
performance and its role. The starting point was the investigation of the profile and history of
women in the traditional circus and to identify the main strategies of the project
Empoderamento das Mulheres de Circo (Empowerment of Women in Circus) through the
analysis of the executions and reverberations of the workshops on Women’s Rights Initiation
to Female Clowning that are part of the action, besides the understanding of clowning and its
role in promoting the protagonism of women in circus. In this sense, this exploratory research
develops a case study of the cultural project using bibliographical and documentary research
as its methodology. As it is a field study, the data collection was made through interviews,
forms and systematic observations. The treatment of the information was made through a
qualitative approach in which was possible to identify the importance of strengthening the
social artistic of these women and to understand clowning as a propeller of female
subjectivity in the process of repositioning the artists in the universe of circus. It was a
successful experience even in the face of the structural precariousness resulting from the
negligible reception of nomadic families by the public authorities. Finally, by means of all the
studies and paths taken it is possible to affirm that developing the project under the tent of
Dallas Circus provided the opportunity for the participating circus women to resound their
laughter in the arena, a space historically reserved exclusively for men.

The objective of this research is to investigate the craft of the technical teams of the theatrical spaces of Salvador, administered by the state and municipal public authorities, having as reference the Teatro Gregório de MatTos (municipal) and the Teatro Castro Alves (state). The methodology is supported by qualitative research with survey of the state of the art on the subject, bibliographic review and conducting semi-structured interviews with managers, technicians and professionals in the artistic field who work (or have worked) in theatrical spaces. Based on these theoretical and methodological references, a subsidy is created for discussions on hiring and training work teams in dialogue with Law 6,533 / 78, known as the Law of Artists and Technicians in Entertainment and Decree No. 82,385 / 78, which provides about the professions of artist and technicians in entertainment shows. The research reflects on my concern over my 32 years of professional practice in the area of technical shows and advances in discussions about the process of training professionals in the technical area and its impacts on the technical management of the show in order to make their views visible. theater roles alongside artists and creators in the daily construction of Bahian / Brazilian theater history. 

Dissertation that, based on theoretical and practical research, has as its theme the life stories
of eight women with fibromyalgia syndrome and the experience of the researcher herself,
whose nationality is Colombian. In the light of this material, the text of the danced
monodrama Tecido blando (Soft tissue) was written, the original title that the author
modified in its terms, the first of which, a substantive, she preferred in Portuguese (Tecido)
and the second, an adjective, she keeps in Spanish. It is a play with a dramaturgy-landscape
perspective. The study discusses the concept of pain and adopts, due to the importance of
its symbolic and experiential meaning, what Ileana Diéguez calls communitas del dolor,
which was transversal in the development of the research. It mentions different
dramaturgies about the configurations of the body and pain, as well as his conceptions of
dramatic structure and what Vivi Tellas calls the Minimum Threshold of Fiction. It
considers the possibilities of fictionalizing the narratives of the women interviewed,
describes, analyzes and interprets the dramaturgical characteristics of the play, supported
by theoretical contributions from Sandra Camacho López, Jean Pierre Sarrazac, José
Sanchis Sinisterra and Jean-Pierre Ryngaert. What, finally, it proposes is a dialogue
between the not rigid or fixed boundaries of the dramatic genre in contemporary times and
a research dramaturgy, where creation focuses on the intimate and the public, two instances
that can be reflected and understood, highlighting the feminine as one of the main
operators.

This research is an investigation about the work of an interior’s actress having the
memories like object, personal and of her origin, in order to understand how the city
influences the praxis of her scenic body. It is a autoethnographic dive based on the
history of the city of Irará and the rememorações that still cross their children.
Through an exercise of free association, the writing maps the similarities that are
sustained between the body of the actress-researcher and the reminiscences of her
land. From the confluences of rememorar, the artist-memory arises, resulting from a
reflection on the marks and transformations that these two worlds, and their
memories, germinate among themselves. Based on the studies on the concept of
memory, it is understood the principles that guide the artist-memory, starting from the
perspective of neuroscientists Ivan Izquierdo and David Eagleman, and from the
notion of collective memory and its effects on the construction of the identity of the
individual, going through the ideas of Maurice Halbwachs, Pierre Nora and Michael
Pollak.

This is a theoretical-practical research, in which I address questions related to the

creative process of the Três Marias soil, which is based on the spectacularity of the

daily life of two Bahian regions on the coast and in the hinterland, namely Salvador and

Canudos. For that, I bring reflections that dialogue with the concepts of ethnocenology

and with one of the methods of creation of the Lume group, the corporeal mimesis, in

which I found close relations with this work. I also share the trajectory of the

construction of this show, revealing its stages and imbrications, which we echo in other

projects that also reflect on author shows, revealing several facets of this feat and the

importance of incorporating the history of life, culture into artistic-academic work and

ancestry of the research artist.

This research proposes an ontological study of the theatrical body- corpo sui generis-, from which the whole process of building a poetics for the scene is born. This proposal covers the definition of Corpo Zero, based on a long-term experience with the Training of the multicultural theatre research group The Bridge of Winds, and through the recording and analyzing of the group's practices. Corpo Zero, as an analogy for the territory where the immanence of the living human body is located, and for how this primeval body functions as the locus that the actor appropriates to build a poetic being. For this, the concept of energy is analysed in depth, through its connections to hard sciences, phenomenology, philosophy and the theory of artistic analysis and production, pursuing ways on how to recognize this Corpo Zero. In the latter, energy is thought, linked to effort, it is movement, knowledge and enhances the presence of the actor's body, transforming it into a poetic entity.

This dissertation, work developed from the field of scene theories, carries out an investigation
on the concept of scenic event and aims to contribute to a conceptual grounding of the term,
present both in practice and in the theory of contemporary performing arts. It is, from
beginning to end, crossed by an ontological questioning involved in the intersection between
philosophy and psychoanalysis, although it always leaves and returns to the scene. The main
philosopher evoked is Martin Heidegger. From psychoanalysis, it counts on Jacques Lacan.
Such an ontology of the scenic event is based on the Heideggerian provocation of a
“fundamental ontology”, but soon moves on to a critical ontology, specific of the scene and of
this investigation. Then, five ontological dimensions are proposed, such as which are
theoretically fundamental to the scenic event in-work: the real, the event, the scene, the
aparattus and the fantasy. Such dimensions are questioned, conceptually grounded and set to
play in a structural relationship of interdependence. Within them, the desire-of-the-work is
also questioned, mainly based on the proposals of Gilles Deleuze, Felix Guattari and Jacques
Lacan. But this desire soon becomes desire-beyond-the-work. It was opted for an essay style,
which historically brings drifting permissions, although always making use of a criticalanalytical
perspective. Therefore, eight critical-analytical essays are presented, in which the
ontological verticality of the critical-analytical aspect does not nullify the horizontality of the
essay - on the contrary, it must enhance it. Since the fundamental object is the scenic event
itself, and since the essay form allows for a transdisciplinary drift, there is an invocation of as
many philosophers, theorists and artists as the intensity of the investigation and and that of the
ontological leap over the event can stand. Finally, when opening up the dimensions of the
scenic event, it is the Contemporary and the art under its aegis which are put in a criticalanalytical
suspension, even when essentially proposing, since the scenic event is treated as a
language.

The present thesis deals with the need to understand and expand Sonia
Rangel's access to visual poetics for the theater and to understand how certain
recurring aspects in the general of her artistic creation point to the recognition of
a poetics for the scene, referring here more specifically, to the reflective study of
the creative processes for the poetic and visual construction of the
performances of the Theater Group Os Imaginários, created and coordinated by
her. The methodology used is anchored in a participatory hybrid research, in
which researcher and research are merged in the same disposition. Thus, a
qualitative collection was made from direct sources, which opened space for the
interpretation of phenomena and the attribution of meanings, considering the
entire theoretical framework used. Correlating such knowledge with approaches
related to the universe of Animated Forms Theater; to the study of image as a
knowledge producer, about the philosophy of space and the meaning about
visuality. In addition, the research is supported by the parameters of genetic
criticism that suggests accurate reading of the records and residues resulting
from the process of development of a work of art. Elucidating the importance of
image as a principle of creation in the performing arts and its contribution to
theatrical pedagogy, emphasizing that the recurrent aspects point to the
definition of a poetics, makes Sonia Rangel's esteem of visual poetics more
evident for the theater and its effective contribution to the history of visuality in
the Bahian scene produced within the Theater School of the Federal University
of Bahia.

The current research discusses an approach for performative theater, called collaborative creative way, which consists of a strategy for training of nowadays artist-students for the present days. This study emerge from a concern that can be summarize in the question: Which tools and artistic operations could assisted artist-teacher in conduction of collaborative creative ways that focus the experience the performative theatrical language? From this initial question, build a hypothesis about the proposed approach to collaborative creative way, with its attentive looks and focuses of concentration to present itself as a strategy, among many others, for the preparation of future performing theater artists. The focus is on thinking about the creative act, not the completed work; hence the emphasis on the notion of formativity as a research methodology. In this work will be presented: the starting points that led to the construction of the collaborative creative way, the background of “theoretical-practical thinking” that involves the path and the proposed approach to the collaborative creative way organized and systematized to serve as a stimulus for new and different appropriations and perspectives. The research points out the approach itself as a possibility to face the challenges in the current formation of theater artists. 

This work is an theoretical/practical research conected to creative processes in the Performing Arts and Literture. The aim is to investigat the account of oneself as a creative act, taking the researcher creative development as a framework and using the narratives of Joana, character from Clarice’s Lispector first novel Perto do Coração Selvagem(1943). Such investigation is developed through a writing both performative and essaying and that is entwined with the creative steps from the researcher, actress and performer, who is inscribed on the research. The pretensious barriers between artwork and authorship, theory and practice, life and art, actress and character are dissolved, as well as other operational dichotomies, to reassure the contaminations and un-limits produced among more contemporary creative processes in performing arts. By taking the central spot in the investigation process, Joana leads the work through her own and unique logic, also guiding the ethic, politics and aesthetics vectors, by creating a personal poetic with which the artisti-researcher is confronted to throhghout the writing.Besides the novel, poetry, images and academic essays are taken as sources to multiply the voices echoed through the writing. Taking research in arts as a scope, its known to take the artwork as central in the processs of sensitive knowledge producing. Starting from a non-hierarchical entwine between researcher and the object of investigation, the work is developed in dialogue wiht self-reported and autobiographical elements, willing to open new ground for the self narrator experiments.

This thesis aims to explore and analyse the creative process, as well as the construction of an identity as Leona_do Pau. Based on my artistic practice, I intend to establish articulations on the concept of ecodrag as a potential force for life. During the development of this research, I noticed the need to discuss identity construction processes based on the art of performance. It was also important to create deviations and tensions, far from the rigid patterns and configurations of subjectivities and sexualities in contemporary times. I seek the expansion of affections as a conducting force for the creation of an ecodrag. I also propose to give special value to experiences and encounters as a way to nurture the relationships between art and life, movement and writing, body and environment. These implications are stimulated through experimentation of somatic-performative practices, more specifically, somatic-performative research. During this research I carried out an essay writing exercise, a narrative exercise, which I named as ecobiography. A life-writing performance that attempts to potentiate the movements against categorization processes and standardization of bodies. All these actions are echoed from the realization of “cuier” (queer) creative processes. They aimed to highlightpossible areas of deconstruction and subversion through a perspective of “cu” theory. These movements are developed during a rewriting, fragmented and integrated into a whole. The use of aphorisms intends to expand the autonomy of the body, the production of affections, and the creation of ethical / political / aesthetic bodies. 

The theoretical organization of the thesis works with the creation of a community involved by Leona_do Pau. It is an exercise of  translating the movements of this body into the world. The theoretical perspective is also in line with authors who produce thought experiences as a way of life. Authors such as Nietzsche, Spinoza, Foucault, Derrida and Deleuze. In addition I dialogue with the production of authors who approach the body as flow, experience and immanence, such as Judith Butler, Paul Preciado, Ciane Fernandes, Suely Rolnik, Paco Vidarte, Guacira Lopes Louro, among others.

The object of this investigation is the scenic way of doing things, that is, the invention of images and narratives about madness, in the theater company Os Insênicos, whose members are users of mental health institutions. The general objective is to present and discuss meanings and senses that are elaborated in the poetic productions of the group. As specific objectives, we highlight: to analyze principles, methods, themes and contents of these creative processes, in comparison with other similar processes in the country; to demonstrate aspects that allow participants to establish poetics and build images and narratives for performances / staging; to understand how the artistic experience - through playing - brings issues related to the experience of these artists, their stories, impelling and guiding their creations. Genetic criticism and studies on creation, games and play are the theoretical bases used. The thesis is methodologically organized in the form of a cartography and brings together four chapters, with the object described above as the guiding axis. In the first chapter, the search for a poetics of madness presents a review of works found in the CAPES Thesis Bank aiming at reflecting on aspects that intersect and support the interface between scenic arts and mental health. In the second chapter, the creative experience of Os Insênicos is compared to the experience of three other Brazilian groups, composed of subjects who use mental health services. Through the lens of genetic criticism, it is proposed to read about the ways of doing recurring in groups. The third chapter discusses the place of artistic creation for two actresses and an actor from Os Insênicos in their theatrical experiments for almost ten years. The ludic function is understood, by understanding that the idea of playing, performing, improvising is a potential space, at the same time shared and singular. The fourth chapter analyzes, through the poetics of the show “Who's there?”, the idea of image and narrative, seeking to demonstrate how some inventions materialize in a creative process. The value of the production of the scene is reiterated for those who are interested in working with imaginative and creative living. And, based on creative perception, it appears that other ways of living are possible, with art, collective work and the reinvention of oneself and the world as the salt of life.

In this work, I outline a study on learning organization within the scope of professional education in theater in order to interpret, under an epistemological bias, the characteristics of their formative itineraries. The focus here is on the observation and analysis of curriculumdevices intended for training in theatrical interpretation. Through the methodology of case studies, I analyze the curricular strategies and conceptual bases that guide practices located in Salvador-BA and São Paulo-SP. They are: the Actors Training course (Técnico em Teatro – Eixo Tecnológico: Produção Artística, Cultural e Design) from Escola de Arte Dramática of the Universidade de São Paulo (EAD ECA USP); the Programa Universidade Livre of Teatro Vila Velha (BA) and the pedagogical system in which the acting course of the SP Escola de Teatro (SP) is inserted. The choice of cases was guided by the institutional configurations now existing in the sector (formal technical schools, free schools and non-formal professional qualification programs) and sought to involve in the scope of analysis the pioneering spirit of modern theater schools and the experimentalism of more recent initiatives, developed in the 2010s. I try to answer the following questions: How have the institutions observed in the case studies been formulating their pedagogical strategies? What epistemological paradigms guide their teaching-learning pathways? What strategies are used there as a means of appropriating theatrical know-how and what do they tell us about the curriculum in the training of these artists? In order to answer them, in addition to the data obtained in the field, I am anchored in the theories on curriculum developed by Ivo Goodson, Guimeno Sacristan and Roberto Sidnei Macedo; the complexity theory developed by Edgar Morin; in the concept of device proposed by Guilles Deleuze and Feliz Guattari; and the knowledge of experience proposed by Jorge Larrosa. Likewise, to define professional education in theater, I use legal frameworks (federal decree 5.154/04, federal laws 6.533/78 and 9.394/96), sociological studies by Pierre-Michel Menger and the aesthetics of formativity by Luigi Pareyson . Through this theoretical framework, I unravel the approximations that I perceive between curriculum, world of work and theatrical pedagogy in order to identify the specificities of the formation of theater artists. In the first session of the work, I make the conceptual delimitations and present a brief overview of schools and professional education programs in theater in Brazil. From the second to the fourth sessions, I present the results of the field research, they gather the analysis of the pedagogical proposals, documents and curriculum acts in the three experiences chosen for study. In the fifth and last session, I unravel as recurrences found in the experiences; present and justify the elements that I believe to characterize the organization of learning in formation in theater interpretation. Synthesizing the study, I defend the thesis that in professional education in theater the curricula follow the properties of artistic knowledge. They are, therefore, incomplete, flexible, dynamic and bet on the autonomy, freedom and protagonism of the teaching-learning agents. This thought is translated through the expression open curriculum.

The research presents the Aroeira Project and its teaching methodology. An Extension
Project that integrates the Theater Training Program of the Federal University of
Western Bahia, which the author coordinates. The stretch of the Project is done from
2016 to 2019. During this period, theater classes took place for rural working women in
the community of Coragina in western Bahia. It is about an unprecedented experience:
women who had never done or seen Theater and a teacher who had never experienced
Theater with the profile of Aroeira women. Thus, the first theatrical group formed by
rural workers in the West of Bahia is born. In this research, a methodology based on the
horizontality of relationships, knowledge exchange, trust, affection, intuition and
autonomy of the participants is presented, in which memory was an impulse for artistic
creation, taking into account the individual, collective and social of people involved and
the rural community. Here, the assemblages of existence itself are transformed. Art and
life blending on the scene. In the Aroeira Project, we orient ourselves in representing
without re-presenting the life we have already lived. We transformed everything that
was into an atmosphere of reflection, charm, joy and aesthetic enjoyment.

This research promotes an inventory of parameters for dance creation that
stimulate procedural and emancipatory somatic networks towards a movement of
growth. The fundamental theme addressed herein is the integration of two complex and
open somatic systems – Body-Mind CenteringTM (BMC) and Articulation and Muscle
Chains GDS –. Both systems encompass embodied anatomy principles that hold the

power to transform the poetics of dance composition processes into new scopes of
possibilities. Therefore, three bodies (corpus) of somatic praxis in dance are identified,
described, tensioned, performed and somaticized as a poetic path for the organization
and embodiment of the thesis as well as the artistic processes moved by the author:
CorpoEstuário (EstuarineBody), CorpOásis (OasisBody) and CorPoÉtico
(CorPoEt(h)ics). Each corpus is related, in an allegorical paraphrase, to specific natural
environments as well to three ontogenetic embryonic layers: endoderm (front body),

ectoderm (back body) and mesoderm (middle body). Assuming the stance of first-
person narratives and the somatic-performative approach, it is presented, discussed,

danced and drawn the main aspects of five dance pieces created in the period when
the research was carried out (2016-2020). In this context, the field of Somatics is
evidenced as a contemporary epistemological turn and supports a definition of it as a
contemporary transdisciplinary Western epistemological field of deep ecology in the
first person plural. The search for the promotion of a somatic culture in dance
composition processes calls for an expanded view of the field of Somatics as a way of
being in the world. Within a movement that goes beyond the limiting disciplinary views
promoted in the twentieth century, often in a reductionist way, specially by labeling it for
instance as Somatic Education. Through artistic experiences driven by the embodied
anatomy of Somatics, three thematic axes are discussed throughout the three layers of
the thesis as identified: 1 – Somatics as an epistemological field; 2 – Dance as a state
of presence/the mind of the cells; 3 – Somatics as a mode of embryonic/fluid
compositional creation in dance. Respectively, these themes are related to the
procedures within processes identified as: organismic self-regulation, through body
fluids and cellular patterns, moving multiplicities; the organization of posture and
functional gesture in the construction of verticality, finding openness; the creative
exploration of movements in the pathways of performativity. Within this tangled spiraled
poetics carried out by this research, it is developed a practice of dance composition
that are moved by Somatics, which in turn can be called CorPoEt(h)ics Anatomy,
meaning the art of sensitizing a multidimensional and multi-referential existence to the
creation of (im)possible worlds.

Starting from the understanding that the spaces of affection and belonging, the
places, are constitutive for all of us, both physically and subjectively, this paper
explores the interaction subjects x places in the context of a pedagogical-creative
process in the performing arts. Using the alchemical elements as a poetic-metaphoric
resource, this writing exposes theoretical references that based the research, then
describe the practice realized in the Paripe neighborhood, in Salvador / BA, with local
residents, having the materiality of the space around as the main incitement for
creation and discuss the possible changes in the relationship between the subjects
and the place resulting from this experience. Finally, it reflects about the implications
of the process on the researcher herself.

This dissertation describes how creative and pedagogical values contribute to the formation of the artist-teacher-researcher through experiments with theatrical improvisation games in the rehearsal room. The research process was developed through data collection, experimentation of games in workshops and analysis of practice. Thus, the theoretical basis was thaught on the studies of Johan Huizinga and Roger Caillois, with regard to the concepts of play in social contexts, and Jean-Pierre Ryngaert, Viola Spolin, Ingrid Koudela and Marina Elias, in their broad contributions to the area of the teaching of the theater and creation of scene through improvisation games. The results are presented through qualitative evaluations, concluding that the studied games are characterized by aspects of artistic creation, the teaching-learning character without frontiers among those who teach and who learn and the characteristic of knowledge production based on the articulation between the theoretical assumptions and practical experimentation.

This study presents the possibility of dance composition directed by the flow between the body and environment’s connection from, through the work in progress Sopro d'Água. Adopting the field of Somatic Education (specifically Ecosomatics) as the epistemological basis, this research-creation is immersed in a creative process based in Body-Mind CenteringTM and its study of the Fluid System, on Somatic-Performative Research, underwater dance, and dance composition guided by body states. Driven by the flow in creation, this study proposes a permeable body which is mobilized by the affections, and is in a constant trasient and transmutational state, guided by the internal and external impulses. In order to deepen the body and environment materiality as a creative impulse, we go through the dance paths guided by the perception of the body in connection with the environment and with the integral perspective of soma, intertwining the fields of Somatic Education and Ecology, which comprises body and environment in states of relation and transformation. Embedded in the transmutational flow of body-environment water, this research conceives the creation in dance as a process in transfiguration. Guided by the methodology of Somatic-Performative Research and directed by the constant transformation of water and body fluids, this study conceives the flow as fundamental and adopts it as a methodology for creation and research, understanding the movement as a possibility to flow and to transform oneself internally and externally. The experiments of the creation process took place in different environments and articulated the following elements: body states, memories and images emerged through the experimentation of body fluid corporealization and water states. Reports and traces of the creation-research process are relevant parts of the structure of this study, describing the experiences of the artistresearcher. The main understandings of this study consider a reflexive panorama comprised of theoretical views of the following authors: Arne Naes (1973; 1995), Bonnie Bainbridge Cohen (1993; 2015), Linda Hartley (1994), Suelly Rolnik (1996; 1999; 2000; 2006), Andrea Olsen (2002), Hubert Godard (2003), Enrique Leff (2003; 2009), Rebecca Enghauser (2007a; 2007b), Ciane Fernandes (2010; 2014; 2015; 2018), Cecília Salles (2011; 2012; 2015), Patrícia Caetano (2012a; 2012b; 2015), Carolina Laranjeira (2013) e Martha Bezerra (2016).

This work performs out an investigation about the active analysis and its potentialities of use by the actor-creator. In this sense, the research focuses on aspects such as the training of the actor and the possibilities of application of this method of work for theatrical creation. For this, a bibliographical review was carried out in order to collect data regarding the emergence and development of the active analysis, with a special focus on the work of Maria Knebel and some of her students. The intention was to identify the main potentialities of this method of theatrical creation in processes of actors and directors training, as well as for the organization of spectacles, and also to record the developments promoted in its forms of application by students and followers of Constantin Stanislávski. The same was done in which concerns national authors who studied the subject or who used the active analysis in the development of their artistic works. In this research, I sought to reflect on the application of analysis for action at the processes of scenic creation. The same was carried out on the importance of études in Stanislásvski’s pedagogic processes. Moreover, I describe series of experiences lived during my own training as actor and teacher, all of them have involved these forms of work. 

This is a research in the line Aesthetic Matrices in the Contemporary Scene, with the objective of analyzing the creative process of two groups of Brazilian Black Theater of today that in their creative processes dialogue with elements present in the religious universe of African matrices. To introduce the theme I make a brief conceptual presentation on the words black and blackness through Kabenguele Munanga's work Negritude Usos e sentidos (1988). About the term black theater, the trajectory of Abdias Nascimento and the creation of TEATRO EXPERIMENTAL DO NEGRO (TEN) serve as a reference, as well as the studies of Evani Tavares Lima (2010) and Cristiane Sobral Correa Jesus (2016). To analyze the creative process of two black theater spectacles, one from Nucleo Afrobrasileiro de teatro de Alagoinhas (NATA) and another from Grupo de Teatro Caixa Preta in Porto Alegre, theorists such as Inaicyra Falcao dos Santos (2015), Cecilia Salles (1998) and Fayga Ostrower (1987) serve as the basis. Finally, from the concept of afrography of the researcher Leda Maria Martins (1997) I point out possible ways for those who seek to develop an afrographed scene.

This dissertation examines the experience developed by the theater group “Os Insênicos” from Salvador, BA, and is located at the interface between art and mental health. Composed by actors and actresses with a history of hospitalization and psychiatric care due psychic suffering, the group brings together a repertoire of four shows and numerous skits and theatrical interventions, from 2010 to 2018. Through the cartographic method, it is built a procedural and polyphonic narrative that seeks to share the germ chaos of creation, the ruptures, but also the productions and lines of forces that run through the aesthetic experience of this collective. The theatrical building serves as a metaphor in this trajectory as an area of revelation of the crossings from six different spaces: the entrance, the foyer, a rehearsal room, the stage, the backstage and the emergency exit. presentation of the landscape where the group emerges and an introduction to the socio-cultural dimension of the Antimanicomial Fight; the rehearsal room, bringing aspects of the methodological construction in the formation of these singular actors; behind the scenes, with statements and movements of desires and affections that approach but also repel; and the scene, the clipping of the visible that brings together the aesthetic and political dimension of the experience, reflecting on four shows of the group. This research considers theater as a political and aesthetic creation territory, which produces relationships, statements, subjectivities and new forms of existence, articulating art and mental health and emphasizing the implications of this relationship in the process of social transformation of people with psychological distress. Different knowledge make up the research that articulates thoughts from the field of philosophy, cultural psychology, performing arts and mental health. It is a collaborative process in which actors and actresses are knowledge builders and protagonists of experience. 

The work presented here is part of an artistic-teaching trajectory that intends the pleasures and difficulties of coexistence in group. The interest is to analyze power relations that permeate the collaborative environment in some artistic groups, cores and collectives of Dance and Theater in Brazil. In order to broaden the perspective of analysis, other artists with experience in processes of collaborative creations were invited to compose a kind of conversation wheel. Together, we discuss about encounter, dissent, autonomy, authorship, hierarchy, relations with foment institutions, among other subjects that permeate the daily work of the Dance and Theater artist. All of them are ex-members of groups, cores and collectives that no longer exist. They ended their works after receiving and executing some type of financed project for maintenance of the group. They are: Couve-flor minicomunidade artística mundial (PR), Núcleo VAGAPARA (BA), Grupo Dimenti (BA), Grupo Alvenaria de Teatro (BA) and Coletivo TeiaMUV (BA). Situated in the territory of collaborative artistic processes, the research configured here in this thesis, focuses on some nodes/problems – tension zones on collaborative network - that emerge from conflicts, discussions and agreements among the members. For the purpose to make the woven network more complex, authors from different areas of knowledge such as Arts, Communication, Philosophy and Political Sciences were put into dialogue. The network perspective is also evidenced in the methodological proposal by the interlacing procedures of different methodologies in a bricolage. The research presents data and questions predominantly qualitative and flirts with with characteristics of cartography and etnography. The thesis is composed of three interdependent chapters that talk about different tensions (question nodes) of political, economic, ethical and aesthetic order. Despite of the interdependence relationship, the chapters can be read separately or in a different order than the one arranged by the author, because the ideas in each of them are (in)concluded in the “between nodes” of the question. The first chapter intertwines Art, Politics and Philosophy and presents a conceptual perspective to think encounter and coexistence between artists as a political and poetic positioning; the coimplication between autonomy and collaboration in collaborative processes; and tension between ethics and aesthetics, in the sense of thinking how the relations between the members and the ways in which they produce their labors imply in the works that are created. It is not intended to analyze the works, but to maintain the focus on the production modes. The second chapter intertwines Art, Politics and Economics and proposes a specific look at hierarchy and authorship when considered in the context of collaborative processes. And the third chapter ties a node between artists, State and foment institutions. It talks about artists participation in the implementation of specific politcs for area; the fragility and instability of the area of Culture and its institutions; of how artists relate to the so-called “edital politics”; and the groups, copes and collectives instability in a context of economic underdevelopment and few investments in the area of Culture. 

This research could or should or would be asked if the maintenance of the pre-established models is a condition of existence or a validation of the creations in dance, even and especially because the own processes of creation enable the emergence of singular configurations and senses when they are understood as exercises of self-organization. This research could or should or would be inscribed in a context in which it is more fruitful to ask than to respond and to present dance as a complex system whose existence takes place in the articulations between bodies and environments far from equilibrium and in an irreversible time to create and disseminate knowledge to each event. This research assumes the semiotic premise that every sign coevolves with its object and acts in the generation of diverse interprets and it opens space for the experimentation and discussion about the self-referentiality of the artistic configurations and their possible complications with other epistemologies. This research is interested in the aesthetic and political reverberations in dance and, at the same time, it constitutes an exercise of experimentation of its linguistic configuration and evidence the flows between sign and object, configuration and meaning, theory and practice. This investigation constitutes a web that is full of openings or tears or deviations, that is made in surveys, reviews and critical analyzes of texts and artistic works, in theoretical and poetic connections about the processes of creation that abdicate certainties and models pre-established and it assumes the instability that constitutes the reality. This research could or ought either to open up to the unpredictable, to the creative accidents and to expose the dance and the writing as temporary arrangements and unpredictable things that happen in time, but limited in their configurations such everything that is alive. This research could or should or would need to (re) think dance-in-flux thoughts with body studies, arts theories, politics, etc. This research could or should or ought to be a dancer's theoretical poetic body wondering.

Based on a fable about how the events mix in the author’s head, the present research discusses the transculturalized body as a process of tensions between the masculinity imaginaries of the Brazilian northeastern tough guy and the flamenco dancer, approaching notions of gender in the construction of a performance entitled Protocol.doc. Common deck figures shape the author's thoughts by performing drags to construct the arguments that support the writing of this thesis. The reference bibliography transits among authors such as: ORTIZ (1983) and RAMA (2008) to deal with transculturation issues, and BUTLER (2003), as one of the main pillars in the construction of the performance, from the moment it offers a theoretical direction to rethink normative constructions so strongly delimited between genders. For this research, the transculturation is determinant in the construction of the thought that will revolve around what ALBUQUERQUE JUNIOR (2013) establishes regarding the imaginary of Brazilian northeastern masculinity and WASHABAUGH (2005), with the political argument of the flamenco dance. In this sense, these two transculturalized universes in the body of the researcher, will open space for some discussions about the notions of gender, performative writing and queer writing, in a dance performance that will build in the body the arguments of these universes, which, this way, feed the writing of this thesis. 

This doctoral research entitled “The kinesthetic perception in videodance: empathic reverberACTIONS between bodies of flesh and screen” deals with the reflection on kinesthetic reactions or corporal movements of the videodance spectators in a theoretical-practical articulation, involving the creation of videodances. Thus, we point out our methodological intention of carrying on the discussion about kinesthetic perception, going through the operative modes of aesthetic construction over the moving image of the audiovisual to provide and intend the engagement of the spectator body. With the premise that the bodily reactions are not only responses to visual perception, but are part of the somatic engagement which is a perceptive complex and essential to the act of seeing moving images on the screen, we take the theoretical contribution of aesthetic empathy (Einfühlung) as a basis for guiding: discuss the role of body and movement in aesthetic experience (SCHMARSOW, 1894; WÖLFFLIN, 1886), in a parallel with the theory of embodied cognition (CLARK; CHALMERS, 1998; NOË; O’REGAN, 2001; VARELA; THOMPSON; ROSCH, 1991); discuss the actions of kinesthetic engagement from the somatic approaches of the film theories that think the body of the spectator as active, flexible, resonant and extended (CURTIS, 2016; FINGERHUT, 2017; HEIMANN 2017); discuss the twining and the interdependence of the ocular system with the other senses of the body - as suggested by emphatic theorists - under physiological research of haptic system (GIBSON, 1966) and the somatic approach of haptic visuality in film theory (BRUNO, 2010; MARKS, 2000); and, finally, building videodances from three subjects of experimentation, evoking ideas of kinesthetic reaction as a constitutive body engagement of perception. When presenting the field of videodance as a historical dialogical field between dance and audiovisual, its way of constructing actions and perceptive transformations and its elementary characteristic in using the superposition of movements, we conclude that this intermedial art has the potential to enhance kinesthetic reactions in the spectator body and can be configured as an articulator of the reflection on the complexity of the kinesthetic phenomenon in the corporal reactions within the audiovisual medium.

Gather friends to party, do a dance with a gift song, write letters, edit diaries, sew banal poems, drink tea, create wish-mutirão bids, be friends with plants, cats, fags, bugs and other planets, make a diving-house, saying yes and saying no, simulating friendship as an instant, testing friendship as a proposal for the millennium-now, hyphenating my gestures-words with words-gestures of the other, letting a tree make a forest of desire for friendship, walk along the path of Diadorim and Riobaldo, keep your heart in your hands, understand the policies of enmity, but do not forget the slots, talk to Roland Barthes, Michel Foucault, Espinoza, Angela, Dri, Denise Carrascosa, Caetano, Laura Castro , Derrida, Paula Lice, Deleuze, Rita Aquino, Suzane Lima, Evelina Hoisel, etc., test an ontology of friendship, sampling the crossings of the friends in everyday life. This thesis is a test of delicacy, a precarious desire for fortune. It was made to exist by disappearing. It is an inviting invitation to get to know each other.

This thesis is one of the outcomes of the artistic research accomplished in integration with the choreographic process of Reversa, a dance solo created and performed by Vivian Barbosa in Brazil and England during the years of 2016, 2017 and 2018. In the research, there is the conceptual, artistic and experimental inquiry about what Barbosa calls 'poetics of permanence and transformation', in dialogue with yoga breathing and meditation, with Rudolf Laban's Effort Theory and its related topics, as well as with the practice of vibration-containment-flow developed by Carla Normagna. Principles, practices, modes of preparation and choreographic creation experienced in Reversa are articulated and discussed through the creation of singular terminologies linked to artistic practice and several artistic and philosophical reference. This articulation is methodologically supported by the perspective of Practice as Research (PcP) and Creative Articulations Process (CAP) by Jane Bacon and Vida Midgelow and it aims to reflect three codependent questions: what happens between inner life, outer space and gesture while I dance? What do I glimpse into this relationship, into this “in-between”? How do I artistically weave this relationship?

This research aims to insert theatre in childhood education through storytelling having William Shakespeare’s The Tempest as the piece to think the space as an opportunity for experience in a scenic and audio environment. Childhood education as the first step of basic education is a moment of changes and discoveries for small children. As learning for small children is based on ludic experiences and playing – two issues in the theatre – the research aims to test storytelling as part of theatre in our times. Therefore, the research points out aspects of theatre and performance that permeate storytelling and present a proposal of theatre for small children. Childhood education approaches children from zero to five years of age and this research focused specifically on children from three to five years of age and on three axes: theatre with children, storytelling and scenic space. The method for this study is a qualitative and descriptive research focused on children as the primary subjects of a research. Methodology included literature review, documental analysis, and fieldwork. Theoretical background include Lev Vygotsky, Manuel Jacinto Sarmento, Peter Slade, Gaston Bachelard, John Dewey, Walter Benjamin, Harold Bloom, Vera Lúcia Bertoni dos Santos, Gilka Girandello, Luciana Hartmann, Loris Malaguzzi and Adriana Klisys.

The research reflects on the ways in which traditional Candomblé Congo-
Angola and Bantu philosophy, from their social / political / philosophical /
aesthetic / sacred structure, can poetically inspire teaching-learning processes
of the Performing Arts in the academic context, considering circularity as a
conceptual basis. From this investigation emerge five fundamentals of teaching
(integral, circular, body, ancestral and mystical) which subsidize the teaching
processes of the Terreiro and organize the methodological guidelines
investigated here. The understanding of crossroads-research, a concept
embedded in the epistemological framework aligned with the approach of the
crossroads as a conceptual operator, coined by teacher Leda Maria Martins
(1995), in dialogue with teacher Luiz Rufino's Crossroads Pedagogy (2018),
organized the research modes, completely involving the researcher in the
investigation, besides allowing conceptual operations of great complexity. As a
starting point, I will discuss the teaching-learning process experienced by me
and the members of Terreiro Unzó ia Kisimbi ria Maza Nzambi (based in the
municipality of Simões Filho-Ba), through the testimonials of the initiated
people. The experiences resulting from the circularity of the Terreiro led me to

the creation of the University Research and Extension Project at the Federal
University of Southern Bahia, entitled Collective AFRO(en)CENA. In this project
it was possible to conceptually experiment the Pedagogy of Afrocene Circularity
as a proposal for the artistic formation of the scene, colliding actions at levels of:
a) General Formation [in the artistic, cultural, historical and philosophical
scope]; b) Scientific [five editions of Azuela: black poetics in circle]; c) Artistic
[scenic experiment: Crossings - Transatlantic Cycles]. At the crossroads of the
research, organized in cycles, I call for dialogue and debate intensification the
following authors: Barbosa (2016), Cunha Junior (2002), Lima (2002, 2010,
2011), Machado (2002, 2010, 2017), Martins (1995, 1997), Munanga (2006),
Oliveira (2007, 2011), Petit (2015), Rosa (2013), Sodré (2017), among others.

The theatre character, as constructed by the Aristotelean-Hegelean dramatic tradition, for a while now, has no longer being the only kind of fictional being found on the stage. Its unity ideal, as searched as equally frustrated along Western Theatre`s history, as Levy-Candeias (2012) shows us, this unity ideal is effectively condemned by the modern playwritters, therefore ending the character in both fictional and structural-dramaturgical plans. Although it can still manifest itself contemporaneously, the interventions on its traditional configuration unfolded along the 20th century and, under the isolation, deformation and dissipation’s Forces, resulted, in plays of authors such as Gertrude Stein, Peter Handke, Valère Novarina, Marcio Abreu e Grace Passô – object of our analysis in this theses – in the emergence of the Figures, in Lyotard’s (1979) e Deleuze’s (1981) terms. Faced with this absence of support that, in that tradition, ensured a semantic web in which the actresses (therefore, both actresses and actors) and the spectators could guide themselves – namely, the character as an absolute totality (HEGEL, 2004) and the dramatic action organized as a linear narrative –, what other acting basis are demanded by these Figures? What challenges they have brought or bring to the actresses’ craft? It is to this investigation, as well as to the analysis of the transition between the Aristotelean-Hegelean characters to the Figures, that this thesis engage. In the practical experiment that our research also covers, we confronted the text of Part IV. The question of identity. A play, by Gertrude Stein (2005), with a series of techniques stemming from poetics or thoughts on theatre that give to the body, in its physical materiality, an emphasis not seen in the acting conventions related to the tradition we collated with our object of study. The actress’ autonomy in relation to the text theses acting perspectives presuppose, as well as the idea of “states of being” or “energy qualities” that cross the discourses about the texts as much as the ones about the actorial labor, guide the reflection that we bring at the end.

 This doctoral thesis consists of a qualitative research, which has the theatrical action mediation as its object of research in university extension activities. This study comprises the fields of knowledge that show a correlation between the performing arts and education, relating to the object of study through a socio-political lens. It begins questioning what is the social responsibility of the public university, represented especially by the extension activities, that integrate the three axes of the university, together with teaching and research. The extension activities have criteria and guidelines indicated by official documents, developed over the years through the University Extension Activities ProRectors Forums, which established how these activities should operate, and what structuring principles they should follow, such as the one of dialogic interaction. With the purpose of researching a theatrical action mediation practice consistent with the indicated guidelines, it is questioned which theatrical pedagogical strategies can be deployed to develop transformative university extension activities. A dialogue is held with authors who have critical approaches such as Paulo Freire, Augusto Boal and Bertolt Brecht and an analysis is made of theater teaching practices capable to converge to university extension regulations. From this point onwards, it is problematized if these studied procedures are useful in a way to be systematized in order to generate principles of a theatrical pedagogy for the university extension, which led to the practical part of the research, through the creation of an extension course offered to adolescents from the municipality of Seabra, a town in the state of Bahia, Brazil. Thus, this doctoral thesis is essentially structured in three parts. In the first one, the research is about the social role of the public university and its form of knowledge production, where works, articles and academic works about the theme are examined, besides the official normative documents of the university extension activities. In the second part, the study of methods and tactics of theatrical action mediation is deepened from the perspective of a transformative education through an university extension activitiy, as Community Theatre. Dialogic theories of education and theater are explored, focusing on the attitude and conduct of the teacher. In the third one, the practical part of the research with the subject group is analyzed, generating principles for the teaching of theater in the university extension. The research results show that the theatrical critical pedagogies investigated and applied in practice can offer tools to approach teaching in critical and dialogic ways, becoming the guiding principles to the construction of a transformative pedagogy for theatrical action mediation as an university extension activity.

This thesis addresses the inclusion of the elective curriculum component Street Theater in the undergraduate course of Performing Arts, at the Federal University of Grande Dourados. The research objective was to carry out and analyze and experimental methodological proposal, which articulated three characteristics: relationship with the representation space, interaction with the audience, readiness state of actors and actresses. Such articulation  allowed for the exercise of collectivity in theatrical practices and the connection of three dramaturgical axes related to the work with Street Theater in Brazil, used in the construction of scenes and in the understanding of various forms  of doing theater in the street, namely : dramaturgies linked to the experiences of popular culture, theatre committed to social criticism and practices  that use open space appropriation in creation. The research participants were 18 students who were enrolled in the elective curriculum component Street Theater, in the first semester of 2018 at UFGD. As object of studies, Street Theater. And experimental methodological proposal that involved historical, formal contextualization , performance for Street Theater and experiences of Street Theater in academic formation in Performing Arts. The meetings, which were divided into blocks of different dramaturgical aspects made possible the experience in different fields of Street Theater making, an important component in academic formation in Performing Arts. The process was carried out in 13 meetings, in a classroom and outside the University, with the maintenance of daily reflective debates and writings. The participants’ testimonials enabled me to analyze the semester’s process and to verify the efficacy of the work method.

Se presentan narraciones e inquietudes a partir de una práctica realizada con adolescentes, alumnas/os de la secundaria en el Colegio Thales de Azevedo, en el período de octubre del 2016 a diciembre de 2017, cuyo objetivo principal fue desarrollar un proceso pedagógico teatral utilizando experiencias de la enseñanza e aprendizaje especialmente las relacionadas al teatro, de modo a investigar cómo pueden contribuir en un enfoque de cuestiones sobre género, sexualidad y raza. Como una de las estrategias metodológicas, se utilizó la aplicación de elementos del Teatro do Oprimido, método creado por Augusto Boal que tiene base en el entendimiento de que todos los sujetos en él involucrados pueden llevar a escena varias cuestiones sociales. Se buscó investigar las potencialidades de un efectivo diálogo entre pedagogía del teatro, educación disruptiva y estudios sobre género, sexualidad y raza en el proceso de aprendizaje y desarrollo social de adolescentes alumnos/as de la secundaria. Se considera que para la realización de un proceso pedagógico teatral, orientado al trabajo con opresiones, es necesario, antes de cualquier cosa, crear un espacio de libertad y confianza, y eso exige abertura al diálogo. 

This work aims to analyze the processes of fragmentation and scenic multiplication of the body of actor-performer Fábio Vidal in his two solo shows "Joelma" (2013) and "Sebastião" (2010) and insert them in a game of concepts that move among the physical theater of Lúcia Romano regarding the modes of the postmodern scenic doing; the biopolitical studies of Michel Foucault, Judith Butler and Durval Muniz Albuquerque Jr about the interdictions on the social body and its heterotopic identity issues; the philosophy of concepts of Gilles Deleuze, Félix Guattari and Daniel Lins, about the becoming and the affections; and the anthropophagous countercultures of tropicália and manguebeat in the country, as to the relations of this theatrical doing to the counter culture that transforms itself in an attempt try to find possible meanings of what the body can do in this type of theater and beyond. This research is a genealogic, heterotopic and anthropophagic one in the field of scenic language and Cultural Studies about the physical theater of the Acting - Actor. The use of vídeos and magaznes as well as academic articles, web sites, books, musics, movies in order to understand the possibilities that the physical theater, and the cultural studies in which it is inserted, bequeathed to the body a language that radicalizes and surpasses the linguistic systems and breaks with the metaphysical and capitalist ways of life.

How is death staged? And a suicide? What remains when they dissipate as frontiers between fiction and life: a cut from a piece of the past revived in the experience of the instant that is told? Leaving the meetings promoted "... no letter: a process of creating mourning to the scene". As a result of a research of theoretical-practical nature, a dissertation proposes the process of creating the staging not a letter: unlike Alexandre Alexandre Coutinho, Larissa Lacerda.

The following research is centered on the writings of the swede author August Strindberg (1849-1912), focusing on the investigation of the relation between his life and his works. The autobiographical approach (ARFUCH, 2010; SOUZA, 2011) chosen as the analitycal directive follows the works produced by the contemporary literary criticism, founded on the conception of hybrid writing and based on the interactions between the fictional and the realistic elements (RICOUER, 2007) in the artistic production. On these terms the author is pointed out as the analysis object in the reading of the various languages he created, which are the locus of the present work. Playing in this stage, each chapter brings the analysis of Strindbergs’ works (prose, diary, photography, letters and dramaturgy), making the reader acquainted to the project of reinvention of the self designed by the author, keeping in sight the perspective of selfinvention through the art.

This work presents theoretical and critical considerations stemming from the creative process
of the project for the fiction series Caso Divina. Inserted in the detective fiction genre, Caso
Divina consists of seven sixty minute episodes per season and approaches themes related to
hate crimes. A few guiding axis were considered for the analysis and discussion of this artistic
work in its creation process. Some of the most relevant are: the necessity to understand the
practical production and broadcasting circumstances, that may restrict the outlines of the work
to be inserted in the audiovisual sector; issues related to authorship in this particular field, that
is, the form of participation and the professional practises of the screenwriter in the creation
and development of the audiovisual fiction; the reiteration of certain fiction series
composition patterns, that put forth the challenge to preserve a range of references for the
spectators (interpretative repertoire) and simultaneously gamble on in dramaturgical
innovations in the engineering of strategies to attract and keep audience ratings up; the use of
narrative organization elements that may extend the broadcasting of the series, generating a
greater dependence between episodes; the exploring of the character as a dramatic resource
and fictional body intimately linked to the tessitura of the plot and to the dialogue
composition. The synopsis of Caso Divina, presented on the Part II of the present thesis,
comprises: storyline; dramatic arcs; main and secondary plot descriptions; episode synopses,
character profiles; set and venue/location list and the screenplay for the first episode of the
first season.

Between West and non-West, between theatre and ritual it is possible to receive the hybrid creative power where different territories will cross. In this crossroads of pathways this thesis presents – within theatre mask studies –miscegenation of knowledge, and composition. This miscegenation will provide new composition tools for the living performance. It is from the cultural Anthropophagy that we find the scenic writing. The space of ritual inspires the scenic space, showing a dramaturgy of movement to the figures with masks. 
The play allows enriching the feast, also producing in space a chaotic and creative dramaturgy. Therefore, “The Mask Games within Candomblé: dramaturgy of feast in space” are strategies of scenic composition for contemporary theatre starting from the reflection of symbols present in the Brazilian rite.

In Brazil, the training of university teachers in Dance is still an object of research less explored, especially when contrasted with the large volume of publications that discuss the presence of this artistic field in Basic Education. This dissertation invests in the amplification of the notion of teacherhood, taking as context the professional environment of the author, Higher Education in Dance. Each teacher is formed in the production of the difference of self. In these terms, the object of research is scanned through three essays that, while maintaining independence in the way they approach the object, intersect with the objective of (auto)investigating the movement of teacheralization, here understood as teacherhood, propitiating the constitution of a network of teaching experiences. The hypothesis lies in the idea that university teaching in Dance takes place in the entanglement of experiences, through marks of subjectivation, always incorporated, that are becoming a teacher, and that precede the immersion in the academic space. The encounter with alterity, that is herewith treated as cognitive solidarity, is a living power in the transient configuration of the landscape itself. The essays are crossed by a phenomenological approach, the Gadamerian hermeneutics. The first one deals with the way in which I understand the formation of teachers and, to this end, I take as a point of ignition the context of my teaching performance, in the historical relation between Dance and University. In the second essay, the objective is to analyze my movements of teacheralization, the construction of my teacherhood, this act of incarnated formation that takes place in the first person, from what is conventionally called as the (self) biographical method, narrative of self. The last essay points to cognitive solidarity as a way of teacherhood, a formational attitude that aims to inaugurate a network of shareable experiences. It is used to write of itself, in format of letters. This is a co-authored essay. The dissertation (in)concludes that teacherhood in Dance in Higher Education is marked and nourished by embodied experiences, because the body, in its entirety, is activated in the cognitive action of teaching-learning. Such experiences are surrounded by the broad existential field, highlighting the subjective marks produced in the life history of the teacher and making university teaching an unattended and unfinished project. 

This thesis is the result of a research method where writing and dancing are regarded as complimentary. It is also a particular practice where the subjective body is experienced both from the inside out while simultaneously witnessed reflexively from the outside in. This process results in the raising of questions related to the aesthetic, mystical, and political significance of self-image and its origins. Focusing simultaneously on the transgression of boundaries and the fusion of heterogeneous elements, the artist/researcher aims at dismantling the mental boundaries that seem to separate the Self from others and the division between fantasy and reality is overrun. In this context, divisions and practices of exclusion that usually derive from contact with others; such as those related to gender, class and race for example, are scrutinized. In a series of self-objectifying acts the artist/researcher explores roles assigned to the feminine that reach beyond the stereotypical image of women. However, in order to arrive at a more dynamic and more authentic self-image the artist retreats to the “seclusion chamber” of her own home in order to evoke a more solipsistic state to work from. Taking Selfies with the internal camera on the laptop becomes the predominant artistic tool of this internal self-examination. The process unfolds much like free association in psychoanalysis, spontaneous and improvised. The Selfie is viewed in this context as a form of narrative – a life-art construct that meanders between fiction and autobiography without being mutually exclusive. During this process, certain signposts of familiarity in relation to the artist/researcher’s body image shift and she arrives at the frontier between the known and the unknown. She discovers that she may have involuntarily initiated a kind of death ritual, in which the hundreds of Selfies taken over the years become an externalized succession of phantasmagorical beings – characters who are both, familiar and unfamiliar, beautiful and grotesque and full of contradiction. Overall, the process is poignantly reflected in Deleuze & Guattari’s proclamation: “Becoming is involutionary, involution is creative.” As the neologism –“(w)rite”– suggests, it is much about the path of transformation. A theoretical proposal would be, that academic writing combined with any highly developed artistic skill, such as dance and performance art, could effectively function as a rite of passage – a “coming into being.” There is the “becoming author” of the dancer, even the “becoming book” of the author – all this and more becoming in a series of performative self-initiations. In this context the thesis is presented as Self – as a body, a story, and a subjectivity – that wants to be taken from the shelf, that yearns to be read.