This writing aoproach the creative process of the theatrical show Memórias do Fogo
(2019), carried out within the scope of Coletivo Duo. Having as its epistemological
field the studies on Complexity and Process Criticism, it seeks to concatenate the
notions of corporeality, In Between and listen to the aforementioned spectacle as an
igneous process: field preparation, friction of materials, ignition point, propagation
and cooling. In this perception, he relates the creative stages as a bonfire, returning
to the procedures and paths that made the work viable as a singular event that, with
its burning, always generates waste and transformations, thus proposing a
methodology of wandering. In the case of a return to a creative process already
carried out and with a spectacular culmination, this dissertation sought to rekindle
some flames that led to the aforementioned methodology in order to remain in conflict
with its space-time.

The Clay Masks of Praia do Forte: Or a study on the tradition of popular masks in contemporary times, has in its chosen title the synthesis of the object of this research. The effort will be to investigate the relationship between traditional elements, more specifically the mask; with the contemporary artistic scene, here we approach performance. The hypothesis is that the mask serves as a transforming element of the scene and is not fixed in a date or historical period; but transmutes and adapts to multiple discourses and is updated in its practice.
This is a work of the master's program of the postgraduate course in performing arts of the Federal University of Bahia that is in the qualification phase. The aim is to contribute to the investigation of aesthetic matrices in the contemporary scene; based on the study of the poetics present in the artistic work of master mask-makers of the Praia do Forte carnival, in a relational approach with performance art. The search here is to understand how this traditional element, the mask, can effectively constitute a resource for the contemporary scene.
In order to demonstrate a possibility, an artistic investigation was carried out and a show was created based on aspects present in the cultural practice of the Caretas of Praia do Forte. Cultural practices are not representations, but concrete experiences with value in themselves and that are inserted in a context with several layers: social, political, cultural, among others. But they do not represent these contexts; they are this entire mosaic embodied in each player. Therefore, it is not possible to extract elements from these practices and insert them into a theatrical presentation. Here, a careful exercise of understanding and resignification is necessary. With this understanding, specific exercises and readings were used for the scenic construction, paths of practice as research.

This text walks through artistic practice based on a trajectory and experiences that focus on a discussion in/about Group Theater and Creation Processes with an emphasis on the expanded scene, invasion theater and access to theatrical dissemination space. It stands out for its immersion in popular culture and involvement with various artistic expressions: dance, theater and performance. Upon entering the Regional University of Cariri, I came across the region's effervescent theater scene, particularly fascinated by the Coletivo Dama Vermelha, of which I have been part since 2016. In this context, the research in question proposes an analysis of the creative processes and trajectory of the aforementioned collective, focusing on its first decade of activity. Using an ethnographic approach, I explore the strategies adopted by the group to face challenges and consolidate their presence in the Caríba theater scene. Furthermore, the study seeks to integrate relevant theoretical reflections, promoting a critical dialogue with the observed practices. Being able to contribute to the enrichment of the local theatrical field.

This thesis is an autoethnographic investigation that explores the process of artistic creation as an act of self-invention based on memory and affection. I have adopted evocative autoethnography as my methodology and writing genre, composing a subjective narrative that embraces the vulnerabilities, contradictions and uncertainties of creation. The writing recounts the journey that began with the desire to create a show inspired by my mother's memory, culminating in the theatre solo Aviamentos (2022). Through the metaphor of sewing, I interweave personal memories, theoretical reflections and scenic practices that reveal the reverse side of the creative process. From this experience I develop the notion of loving rebellion, understood as an insurgent and affectionate ethic that challenges reduction and proposes new ways of being in the world, both in the act of creation and in life. Loving rebellion dialogues primarily with notions of the vibrating body and complex thought. Artistic practice is the method and guide of the research, in which the body is a portal of permeability, where memories are woven and reinvented as a scenic presence. In dialogue with authors from the fields of art, psychology and philosophy, the work approaches memory as a social and dynamic phenomenon, updated through relationships and encounters. The notions of affection and community emerge as the foundations of creation and the modes of existence explored throughout the research. Rather than proposing a model, I seek to evoke or inspire, inviting other artists to follow their own creative paths, welcoming the reverse, the unfinished and the singular as transformative forces.

This thesis proposes to investigate a process of dramaturgical creation in contemporary culture, from a look at the strategies of the Bahian artist Luiz Marfuz when writing and directing the play A Última Sessão de Teatro, released in 2009 to celebrate the 70th anniversary by Harildo Déda, one of the most important names in the history of theater in Bahia. The honored actor, director and professor represents, in the imagination of generations, the iconic figure of a great master of the arts, who became famous with a long and multifaceted career. The study analyzes the play, its reflections on the scene and its relevance in the historiography of Déda, who, by starring in the show, becomes the theatrical personality of the year 2009 in Salvador. The dramaturgical content studied in this research arises from a real situation involving the honoree. Even though he is in full swing, he is forced to comply with the imposition of compulsory retirement, after several decades of work at the UFBA Theater School. The play A Última Sessão de Teatro was born from Marfuz's desire to provide a metaphorical rebirth of the master, after seeing him emotionally break down in the face of this situation imposed by legal law. The author starts from the truthful cut to create a text that places the theatrical making itself at the center of the plot. Detached from biographical fidelity, the work seeks to approach and distance itself from its main source of inspiration, but without losing sight of the character of homage to the protagonist, who enters the scene to play the experienced actor HD. The crisis of representation, the confrontation of generations, the adoption of the Master-apprentice model in the relationship between the characters and the influence of authors such as Brecht, Beckett and Shakespeare are aspects addressed in this thesis, composed of a theoretical framework that includes contemporary dramaturgy and some cross-cutting themes, but with the greatest richness being the living testimony of Harildo Déda, the octogenarian artist who continues to enjoy his creative productivity without ever giving up on his art.

The present work to investigate the characters visual characterization process
from the perspective of possible interactions between the construction of
characters’ appearance and scenic weaving. The first stage of this work
concentrates theoretical studies on the guiding concepts of the research. Next,
in the search to understand these interactions, the soap opera Meu Pedacinho
de Chão is analyzed, with emphasis on the construction of Zelão’s appearance.
Finally, reflections are presented about experiences that led to the object, as
well as the report on the visual characterization process carried out for the show
Beira de Estrada, by Finos Trapos Theater Group, inserted here as a possible
experimentation within the research path. This investigation aims to raise new
perspectives for the visual characterization of characters that can collaborate
with processes that address the relevance of appearance in the creation of a
spectacular scenic work.

The objective of this work is to investigate the perspectives on the emergence of dramaturgical production with LGBTQIAPN+ themes in the city of Manaus in the 2000s. The guiding thread for understanding this scenario of insurgency and the urgencies of these themes in contemporary dramaturgy is to understand how the perspectives on addressing LGBTQIAPN+ experiences in Brazilian dramaturgy have been rooted, for many decades, in a process of erasing these narratives, almost nonexistent except for pejorative or prejudice-reinforcing perspectives. This scenario changes from the 2000s onwards, with new political and social configurations also reverberating in theater. The dramaturgical production of Manaus is influenced by a search for identity construction based on its regionality. In this context, we will see how this fact reverberates in the absence of other approaches and how the LGBTQIAPN+ theme has gained prominence in the dramaturgical production of the city in recent decades.

In this research, I propose a reflective analysis on the search for an artivist poetics for the performing arts. Analyzing three performances of my own and other performances by interviewed artists, I trace a path of PAREYSON's (1984) poetics that mix art and activism, through the performing arts. First, I provide an overview of movements that took place between 1970 and 2020 in some Latin American countries, Argentina, Brazil, Colombia and Chile. From these events and based on André Mesquita (2008), I bring the concept of Artivism and its practices that use artistic elements to execute their performative actions. I discuss questions that are inserted in contemporary art, with the difficult barriers placed between art and life, politics and art. Based on Shechner's (2006) theoretical framework, I propose a discussion on performance art, based on the work of interviewed artists and the performance I performed “Elxs” (2017), where the street is used as a stage for personal concerns that destabilize what is already in place. I end the article with a conceptualization of poetics, listing the ways of doing these artists who are able to and approach the concept of Artivism, a collective art that is inserted in the public space seeking social transformations. The objective of this research is to write about an artivist poetics for performing arts. Ways of doing art that place the audience as a participant in the work create heterotopias (Foucalt, 2013) and destabilize the status quo.

This work consists of a study on the notion of conflict in contemporary dramaturgy, conducted in conjunction with the creation and analysis of the play Joãozinha Desviada, uma peça para meu pai (Deviant Joãozinha, a play for my father). Drawing on João Sanches' (2016) reflections on "deviant dramaturgies", Joãozinha Desviada is understood as a manifestation of this contemporary dramaturgical tendency. The research therefore explores the notion of conflict beyond its traditional conceptions. Based on authors such as Fischer-Lichte (2013), Baumgartel (2010; 2011), and McKee (2013; 2018), conflict is considered to operate in different types of relationships (intersubjective, intrasubjective, and extrasubjective), as well as in different axes/orders of perception (intrafictional and extrafictional axes, or the order of representation and presence). The study also dialogues with authors such as Sanches (2013; 2016; 2021; 2022), Mendes (2012; 2015), Sarrazac (2013), Szondi (2001), Esslin (1978), Féral (2009), Pais (2014), among others, to highlight how the dramatic, epic, and lyrical aspects present in Joãozinha Desviada, as well as its predominantly performative nature, relate to what will be called here an "expanded notion of conflict". This study examines the possibilities of conflict as a valuable resource for both the analysis of theatrical works and contemporary scenic-dramaturgical creation. The present research aims to contribute to a broader and deeper understanding of the role of conflict in contemporary dramaturgy, as well as to nurture theatrical practices and discussions about dramaturgical craftsmanship in the present day.

The present study addresses the possibilities of paths and creative strength of a fat female body in performing arts. Through artistic experiences of my own fat body and the practical investigation of physical elements, such as weight and fat as creative devices and body activation, this research-creation seeks to denounce and reflect on fatphobic social structures and violence in the light of anthropological, sociological, historical, and philosophical theories, as well as artivism and feminist theories with the intention of dialoguing with other dissident corporeality, in order to understand and strengthen the political aspects of a body that asserts itself in their identities and singularities, assuming themselves as a body that challenges and disobeys a social normative system. By appropriating my identity landmarks, my personal narratives, and the performative artistic experiment, this research-creation stands as a political artistic work to provoke our understanding of what it is to have and to be a body that is absent from the standards established by a cis-capitalist, heteronormative and hegemonic theme. Based on the methodology of Practice as Research, specifically Somatic-Performative Practice, the creative process of ContraPeso stems from Authentic Movement and Body-Mind Centering (BMC ), based on performative proposals such as Performative Programs, in addition to exercises and methodologies that were created and experimented with in the process of this research-creation itself.

The research discusses dances, performances and other forms of art presented in
domestic environments, with an emphasis on those carried out on the ACASAS
Platform, a laboratory for artistic experimentation in homes, developed between 2012
and 2022. The study explores how the concept of “home” influences dances,
performances and other forms of art, especially when the works propose ways of
relating to the space for their creation, production and circulation, thereby
transforming ethical and political aspects of the notions of “home.” It assumes an
understanding of “space as a dimension of multiple trajectories, a simultaneity of
stories-so-far,” as stated by Doreen B. Massey, to acknowledge that places like home
are not neutral. In this way, the study focuses on the home as a site for artistic
experimentation and on how works of dance, performance and other artistic forms
politically engage with “art” and “home” in their propositions. The dissertation
experiments with writing methods for research in the arts, guided by artistic practice,
using description as an exercise for reflecting on artistic creations. The text is
presented in fragments of memories, images, essay drafts, questions, gaps, and
pauses, incorporating into the writing the complexity that arises when creating spaces
for artistic experimentation that engage with the domestic context.

ABSTRACT

The thesis identifies the existence of a poetics - understood as a collective
creative process - unique to the city of Salvador, developed and preserved
through its cycle of popular festivities, highlighting the characterization of
one of its main manifestations: the art of the trio elétrico. It closely examines
the impacts of the “trilétrica” revelry on the theatrical practices of the city
and identifies key aesthetic principles that defined a prosperous period for
Bahian theater at the end of the 20th century. Using the practice-as-research
method, these principles are applied in a theatrical experiment that
hybridizes theater and carnival in an itinerant musical through the streets of
Pelourinho.

Resume: 

The thesis is configured as an exercise of reflection on praxis in the field of Pedagogy of Appreciation. Concept that designates a way to teach theater classes based on the triangular teaching of the arts developed by Ana Mae Barbosa, emphasizing the doing, appreciating and contextualizing for a comprehensive cognitive capacity of scenic creation, aligned with Augusto Boal's Aesthetics of the Oppressed, privileges the place of the spect-actor as an agent of reflection and social transformation. I narrate passages of my personal life trajectory and my sensorial, intellectual and affective encounter with theatrical art at different times, to deal with the flows and transits that triggered the realization of the doctoral field research in the character of Theater Workshop with people in homelessness in the city of Salvador, Bahia- Brazil in the Social Run for Hug Program. It is, therefore, about the analysis of an educational process in performing arts with socially vulnerable segments, aiming at the elaboration of an aesthetic pedagogy based on critical foundations capable of contributing to ways of subversion of social oppression from the theatrical encounter. 

Is it possible to engender dialogues between reality and fiction? How many knots are possible to be tied interweaving a historical event and a theatrical performance? And finally, is it possible to engender dialogues between Nós, a show by Grupo Galpão, and the 2016 political coup? These research probing questions  resulted in this paper, which seeks to reflect upon history, politics, theater, contemporaneity; debate the intersection between fiction and reality in the world we live in today and the spectacularization of situations, of life; activate the discussion about the function of art in the constitution of the critical citizen and reaffirm the importance of establishing dialogues, of transversalizing subjects, knowledge, themes that involve everyday issues, without neglecting the subjective perspective that can be subsidized by art, all of this using the research objects, which are the show Nós, by Grupo Galpão, and the 2016 Coup, suffered by Brazilian democracy and by former president Dilma Rousseff. Starting from the facts/versions principle, I carry out a historical survey of Grupo Galpão since its foundation, in 1982, until 2016, year of production of the show Nós, directed by Márcio Abreu. When arriving through the timeline at Nós, I make a brief description of the production process that lasted two years, and, later, I focus on presenting it from the point of view of the self as an audience to you, the person who reads, following the dramaturgical script, which has, in essence, a political discourse while debating issues such as violence, intolerance, public, private, oppression and interpersonal relationships, which led me to the 2016. As regard to the Coup I carry out a historical political retrospective of Brazil from the June 2013 Journeys to 2016, the year of the Coup, and, later, I focus on the months of its consolidation, which happened mainly between April and August 2016, when I bring the historical part and description of the events of the paper to a close, and move on to the construction of meaning which is the link between the show Nós and Coup. By using reading as an invariable research procedure, I come to the affirmative conclusion that it is possible to establish dialogues between the theatrical performance and the 2016 Coup.

The research aims to propose and apply a methodological didactic proposal for teaching-learning theater, from the perspective of black theater oriented towards higher education. Therefore, it is intended to develop a set of games, Guia Faraimorá, inspired by gestures (Ancestral Movements of Orixás), gestures of the participants, and gestures (Iconic Movements of the Black Movement), in addition to three African symbologies, (The tree of the oblivion/ the doors of no return/ and the Bakongo Cosmogram). The proposal is aimed at undergraduate students, in order to offer appropriate material to support the development of Theater teaching. It is a qualitative, descriptive and reflective research, with a theoretical and practical approach, which implies the preparation of material, this research joins other academic productions of an anti-racist nature, in this case, in the Performing Arts, field. in which there is a large gap in the production of educational scenic practices that bring the cosmovision and perspective of black existence. The theoretical foundation of the reflections presented here is based on: Leda Maria Martins (1995) Naranjo (2012) Munanga (2006), Evani Tavares Lima (2002), (2010), (2016), Nilma Lino Gomes (2017), Sandra Haydée Petit (2015), Inaicyra Falcão dos Santos (2015) Beatriz Nascimento (1987), Abdias do Nascimento (1980) among others.

From an urban provocation arises the questioning about the typical character in the national dramaturgy. Is there such an interlocutor, capable of giving an identity to the theatrical production of a model to be replicated? The research proposes to answer the question through an extensive literary deepening, searching from the first records until the disappearance of such a character. The malandro is the center of this dissertation and its entire trajectory from its emergence in an Iberian Peninsula to its perfect insertion in the tropics. Co-opted by Brazilian behavior, its diffusion will be widely addressed by theater and literature. Through records of his circulation, two cities are identified as being occupied by his figure. Namely, Rio de Janeiro and Salvador, cities where this investigation is applied through everyday observation and bohemian insertion. The occupation of two coastal towns with different behaviors bequeaths the port region to the malandro, where all his possibilities for action take place in excellence. Understood as a person at first, his transformation into a character is inherent in his popular imagination. Gaining the nickname of an adjective, malandragem is narrated in models that become classics in literature, taking to the stages according to the social transformation of the streets. As an urban chronicle, the produced dramaturgies insert the malandro as a provocateur of conflicts and articulator, oblivious to a Manichean balance. Observing political variations, the malandro transforms and adapts to maintain his existence. Faced with the examples of different authors, we perceive the decline of the character until his definitive disappearance. Proving to be the typical representative of national dramaturgy, two examples are cited to suggest a model of malandragem understood between the acting environments. Namely, public and private become the spheres where the characters Vadinho by Jorge Amado and Max Overseas by Chico Buarque perpetuate the archetypal conduct, justifying all the deepening of this research.

 In this dissertation, we will discuss the Forum Theater technique as a theatrical practice applied to the Teaching of Young People and Adults – EJA, of Axis 7, Formative Time II, at Colégio Estadual Dona Leonor Calmon, during the 2018 academic year, with students between 18 and 70 years old. The methodology (GIL, 1999) used was: regarding the objectives, exploratorydescriptive research; regarding the nature of the data, it was a qualitative investigation; as for the sources of information and data collection techniques, a bibliographic review by authors such as Turle (2014, 2016), Boal (1980, 1982, 1991, 1996a, 2004, 2009), Desgranges (2006), Freire (1987, 1996) was used, Mattos et. al. (2016), Sanctum (2016), Viana (2016), among others, and action research. To this end, based on the transgressive perspective of Paulo Freire's Pedagogy of the Oppressed, exercises and games to de-mechanize the body and mind were carried out with the students, experiencing the Arsenal of the Theater of the Oppressed by Augusto Boal and the construction of model scenes or anti-models of Forum Theater, with conflict as a fundamental element, contextualized in two words: oppressor x oppressed. The results showed that the Forum Theater technique can be an instrument for liberating the world consciousness of the students involved, as voice and freedom emerge for students to create their own artistic aesthetics during the course of teaching, doing, reflecting and contextualize

The contribution of cultural performances to the body preparation of the actor is a theme that has been brought up strongly in recent decades. This thesis analyzes the mediumistic trance of the sons and daughters of saint of Terreiro de Umbanda Aldeia dos Orixás in Maceió /AL. The objective is to show what the presence of these performers during the embodiement of Orixá Ogum can bring to the body preparation in the theater, and for this purpose it seeks to carry out a comparative study between what occurs in the altered state of consciousness of these mediums with the body states of actors and actresses while on stage during a theatrical show. The epistemo-methodological choice involves ethnography and self-ethnography, inasmuch as the author of the thesis is one of the mediums analyzed. In this way, interviews are conducted with sons and daughters-of-saint, priests and priestesses of Candomblé and Umbanda, in addition to Ogum Dance classes, experienced outside the trance state, in addition to filming and photographs of public rituals at the terreiro. The discussion places Fernanda Julia Barbosa (Onisajé), from NATA (Alagoinhas / BA) and Agrinez Melo do O Poste (Recife / PE) in dialogue, both stage directors who investigate Candomblé as a matrix / motive for scenic creation within their respective groups, and for this reason they are representatives of a theater produced by black and Afro-religious women in Northeast Brazil. In parallel to the reflections brought by these artists, researchers such as Leda Maria Martins, Denise Zenicola, Luiz Rufino, Muniz Sodré, Zeca Ligiéro and Armindo Bião form the basis for epistemological reflection on the scene and the characteristics of Afro-Brazilian arts. For the analysis of Ogum's performance and dance in the religious and artistic contexts, the authors Eugenio Barba and Richard Schechner are present, being considered as the proponents of concepts that will be reframed, in order to build an epistemology that embraces these local realities more immediately and consistently. 

The present work discusses the relationship of the “wildcard function” in the entire structure of the poetics of the oppressed, especially in Teatro Forum, problematizing the practice developed by its members. The question To be or Not to be a wildcard is presented as the main motto to reflect on these functions. Based on qualitative methodological strategies, which concatenate autobiographical narratives and theoretical-practical experiments, the reader is invited to come into contact with a conceptual proposition based on the term Curing(action). The concept has as its main objective to express the plurality of functions developed by the joker in the poetics of the oppressed and to question whether there is a transience when the subject assumes to be a joker. From a methodological perspective, a brief historical path was traced, placing some relevant milestones in the history of TO: the history of Teatro de Arena, the Coringa System, until arriving at the Teatro do Oprimido. The structure of the thesis is organized as follows: analysis of the wild card from four institutions listed in this work; friction of the terms wildcard, wildcard, wildcard and wild(action); relationship between the roles of the joker and the educator, bearing in mind Freire's popular education; proposition of a practical experiment based on the TO method; development of a research and application instrument with three OT wildcards. In this path, the main references were Freire (2016), Adorno (1995), Martins (2014), Mauss (1950), Pavis (2017), Rancière (2002), Deleuze (2010), Turle (2014), Santos (2018), Conceição (2016), authors who sediment the presented theoretical framework, configuring a polyphony of voices that helped in the construction and problematization of this thesis.

Curinga, Theater of the Oppressed, Augusto Boal, Curing(action).

This research is dedicated to investigating the political meaning of Care and its relationship with the Theater of the Oppressed. Among the objectives listed for this purpose are: the elaboration of an analysis on the gaze perpetrated by Augusto Boal on the most vulnerable bodies, a study on the guiding ethical precept constant in the tree of the Theater of the Oppressed in dialogic correlation with the aspect of Ethics of Care in Joan Tronto, in addition to the aesthetic search for a space situated in this order of ideas. In this sense, we aspire to confirm the hypothesis that the Theater of the Oppressed corresponds to a privileged field of cultivation of Care. To this end, some conceptual notes relevant to the subject are examined, especially in line with its mythical, semantic, philological, legal, categorical genesis, in addition to the collation of voices that represent a decolonial thought. As for the methods adopted, there is a qualitative approach in addition to an investigative procedure of an aesthetic nature whose triggers for the installation of an asceticism derive from the games and exercises of the Teatro Forum e Imagem and equip individuals to promote their own productions in a condition of protagonism. Subsequently, striving for a true claim to a Poetics, the arguments raised are reinforced, based on the proposition of many other artistic and pedagogical experiments, provoked by the most diverse voices that reaffirm the Theater of the Oppressed as a space of Care in the VIII and IX Journeys of the Oppressed and University. Finally, to reflect on a curingage of care in the light of the experience of the Juridical Journeys in Theater of the Oppressed.

The present thesis traces the memory of the experiences and choices of doing theater in the custody and prison system. It is divided into introductory axes, five Pathways and the sharing of my conclusion and final thoughts. The axes bring support and structure to the thesis in the sense of presenting the author, explaining the desire to research and how the procedures of the paths followed were organized. Still on the axes, facts that happened in the external and internal world during the writing of the thesis were contextualized, because it makes perfect sense as an apprentice cartographer and researcher/inventor to explain the influences, the “perfectos” and “afectos” in which the research is implied. In terms of procedures, the proposal was to map the memory and materialize it in writing.
The clues were the drivers of the process, they are part of the experiences over these almost fourteen years doing theater in prison. The rhizomatic procedures were compasses that negotiated the desires and needs of the path, so I took the Aesthetics of the Oppressed and the Oppressed as “South” as a principle. I named devices, lines of flight, which made it possible to invent and reinvent creative powers within prison, to release thinking and creative doing. The Images/generators and the Narratives/generators made it possible to follow the traces during the writing of the thesis and, at the same time, are part of the triggering power of scenic creation and possibilities of reinventing life, whether through minority narratives, dreams, or even letters.
I attribute to the dramaturgism of coexistence the possibility of creating fissures in the scene and in real life. The five Pathways are independent and each one of them tells the experiences of how we made theater and the creation processes in total institutions, in different periods and contexts. These Pathways took place at the Custody and Treatment Hospital, Jequié Penal Complex, an Experience in Córdoba - AR and at the Female Penal Complex at different times, as those are the places where my encounters with creation still take place. Finally, I share the main idea of the thesis and try to ground the learnings from this experience, as they do not cease, they continue with each reading and rereading that I do, and with each new clue that materializes in the memory/body. Exactly for this reason they are not conclusive, but alternatives to a conclusion.
Regarding the problem of the thesis, the tools that were pursued during the journey, I can say that each Pathway has its own, but the stumbling block, the one that made me look for alternative routes externally and internally, was trying to discover, verify, or even affirming the possibilities of human inventiveness/creativity even in adverse situations, of how to maintain ethical, social and political commitment and transform hard lines into becoming, of transgressing the harshness of prison with art, of fighting against hegemonic thoughts by experimenting with ethical and aesthetic alternatives.

The present research has YouTube as a space that allows us to think about the
importance of creating and reformulating values. Thus, the investigation of the effects,
narratives, and discourses that are generated by the production of queer video
performances, based on the culture of fans, and posted in this media environment,
claims a possible “Dramaturgy of precariousness in Becoming”, always updated by
affective and performative references and their consequent articulations in the context
of the internet. The chosen artists for this study are Saullo Berck from the city of
Barbalha (CE) and Royce Cherdan Lee from the city of Cebu (Philippines). In their
video performances, issues related to the Image; to the Body; to the Affections; to the
Topos are observed, and the perception of its connections between representational
visibility and political power. Both artists have a vast production that is constantly being
resized. They work with improvisation to create their video performances and make use
of what they have in their homes, in the do-it-yourself style, already so established as a
practice on YouTube. The videos by Saullo Berck and Royce Cherdan Lee
demonstrate the affective, emotional, and habitual engagement of pop culture
narratives with their target audience. There are two methodologies that guide this
research, namely: virtual ethnography, considering the sharing platform YouTube, as
an environment in which video performances are broadcast. Autoethnography and
Performative Writing as thesis writing procedures, which put the researcher in selfassessment
of their experiences, evoking worlds of memory, pleasure, and sensations
to operate metaphorically and then observe the field studied. In this sense,
Performative Writing makes it possible to understand written text also as a scene, as a
performance. With this methodological thought, this research takes an interpretive and
qualitative approach to the work of youtubers aiming at the production of knowledge in
Performing Arts from four conceptual categories, they are: Body, Affection, Topos, and
Action. It is observed that interpretive research is fundamental to understand these
artistic products and their specificities, as well as the theoretical horizon is organized in
an attempt to contribute and guide so that all the information that is necessary during
the process is articulated from a complex, seductive, fast, attractive reality and be
confronted and presented, adding knowledge to the field of studies of Performing Arts.

"Corpalavadeira: Uma poética do coração" is a doctoral poetics developed with the Graduate Program in Performing Arts of the Federal University of Bahia-PPGAC/UFBA, in the line of research Corporeities and interfaces: Somatics, Performativity and Digital Arts. Her investigative body is centered on the "Ritual of Laundresses" and her life stories connected to the life and art path of the Amazonian researcher. It is through this cultural repertoire of the Paraense Amazon that the whole process of constitution of the performer-actress as a living geography is bathed, implicated. For all this, the work travels a trajectory beyond "research subject" having the image-force of the washerwoman, not only as a category of study, but as the genesis of the creation of other subjectivations investigated and expressed by the INcorpoRe Group. Performing along the floor of the streets of the outskirts of Icoaraci/PA has been consolidated since the beginning of the research as a singular and current poetic identity, in order to guarantee, in fact and in law, cultural interventions in the daily life of the city. The corpalavadeira forms its web of meanings as a plan of resistance, not only for the district of Icoaraci, but rather, in the dialogue between - citizenship and forestry - as an insurgent public poetics that inhibits, breaks, attacks patterns and behaviors that imposes rules and norms for the body. I was inspired by iconography as a methodology (Jung, 2008) and to establish theoretical relations of analysis I used concepts of Geertz (1997), Schechner (2003), Freire (1987), Boal (1997) and Santos (2020), seeking to raise elements that help the treatment of the data obtained. In this way, I approach the bias of practice as research (Fernandes, 2012). As methodological procedures I adopted interviews, conversation circles, subdivided into 'body-prose', 'body-alumia' and 'body-memory', in addition to listing the 'butuca' and 'photographs' as an instrument for data collection.

From an imaginary of tour and errantry created by the perspective of Research
in Performing Arts, emerges a poetic investigation about corpar, vibrar, and
instalar, defined here as movements that occur internally in the creative process
being simultaneous, interdependent and, relational. They are perceptible by the
materialities, visible, audible, sensitive and palpable elements that are present
by the body, its relationship with objects and spatiality. This organization
produces performative compositions, experiments based on artistic
performance, focused on different ways of perceiving the world. This research-
creation structure this thesis created from experiences in theater workshops
with people with intellectual disabilities, identified here by the emergent
paradigm of neurodiversity. The use of this terminology breaks with models of
disorder and pathologization, expanding to the various perceptions that are
natural variations within species, a mode of existence outside normal patterns,
generator of perceptual and relational particularities. The conceptions proposed
in the research are developed by observing of the workshops and performative
paths of the researcher, crossing knowledge between Performance Studies,
Neurodiversity Studies, about body and philosophical reflections. The goal is to
enables new propositions for an accessible theater teaching for people with or
without disabilities, and can thus disarticulate systems of domination of bodies,
update strategies from the field of Performance to the Pedagogy of the
Performing Arts and expand notions about perception of worlds, of lives to be
lived, and built in collectivity.

Care has been and is the subject of much research, mainly in the areas of health,
philosophy and social science. This research brings another perspective, the artistic

experience as a guide and integration of practices and meaning of care. A somatic-
performative understanding of care was constructed by integrating practices and

knowledge from Somatic-Performative Research - PSP, the Gestalt Approach (AG)
and the Movement for Life (MFL). The methodology used was Somatic-Performative
Research, a Practice as Research that bases the construction of knowledge on
embodied artistic practice. To this end, performances were carried out with the Coletivo
A-Feto de Dança-Teatro of the Federal University of Bahia (UFBA), with the
participation of the Performance Laboratory, both under the direction and conduction
of Ciane Fernandes, elaboration of workshops, personal, artistic experiences and
somatic-performative records. Seven rhythms of care were systematized, which had
as unifying aspects of the seven rhythms proposed by Gisela Rocha in Movimento
para Vida, based on her practice with Gabrielle Roth's 5Rhythms®. They are:
Receptive, Flow, Stacatto, Chaos, Lyrical, Adagio Legato and Stillness. These rhythms
were revisited from the perspective of care and expanded in conjunction with the
principles of Somatic-Performative Research and the Contact Cycle proposed by Jorge
Ponciano Ribeiro, together with adjacent concepts of the Gestaltic Approach. Care is
then configured as a creative-caring spatial pulsing that takes place in a relational field.
It encourages us to construct transformative meanings, the fruits of the encounter,
whether with me, with another person and/or with the world. A transformation that
makes us increasingly ourselves, with authenticity, somatic wisdom, with consideration
and respect for everything that exists in this totality of which we are part.

This dissertation presents a study about the correlation between scene and city based on a reflection on the process of dramaturgical creation of the spectacle “Ruína de Anjos”, by the Bahian theater group A Outra Theatre Company and the experience of its national circulation through the Palco Giratório project, from the SESC, in 2017. Considering the city as dramaturgy, the theatrical show as a document and the theaters that articulate the real as an experience, its construction is based, especially, on the dialogue with artist-researchers involved in scenic practices that happen on the streets. From the concept of expended dramaturgy, we can realize a Encruzilhada Dramaturgy that deal segments, mediates elements of the scene and the city, dialogues with spaces and times, articulating itself on the border of languages, mobilizing knowledges, enphasising conflicts and configuring itself as a
document, although ephemeral and unfinished, the result of a unique experience that involves artists and audiences.

This master's dissertation aims to analyze the phenomenon of Performative Staging, an evanescent fruit of performative theater, associated in theatrical studies with what has been agreed by ‘Teatros do Real’ beneath contemporary scenic creation. On that account to reach, a qualitative approach process named by Aesthetics of Theatrical Praxis it has be proposed, a component that brings into play the vertical dialectic and intra-aesthetic procedures, foreground and background, which helps to examine: the social context that propels the emergence of theatrical phenomena and the functioning of poetic operations that forge their structures. Considering, the objective is to improve the notion of Performative Staging for a better usufruct of staging processes that enable the agency of acts of life, as well as acts of fiction in artistic propositions that contemplate intersubjective and iterative paths. Biases, these exposed, that contribute to the instauration of the phenomenon, object of this research in the process of constitutive knowledge.

The research begins in Mexico (2017) with the compilation of 32 plastic works with their corresponding testimonies made by 32 artists (one for each state of the Mexican Republic), the research was based on six of those performers: Alberto Cerz, Azucena Verdín , Daniela Bustamante, Dano Ramírez, Danya Torres and Raquel Arriojeda, who expressed how on a daily basis they are oppressed, silenced and immobilized both by the drug war and by sexual terrorism.

In body exploration laboratories, the trigger for movement were those 32 images, and based on authentic movement, neutral mask exercises, cartographies, poems, dances and music, were produced performances, photographs, designs and video-dances, these are the basis of the investigation with the aim of performing on the edge of counterpoint: body-war.

The research analyzes the trauma, caused by oppression and violence, making use of movement to mobilize the memories of pain, which inhabit the silence of the wound.
The Abordagem somático-performativo (Ciane Fernandes) was considered, which implies the intertwining of artistic practice with theoretical research. The theoretical contribution is based on concepts such as Trauma by Peter Levine and Raquel Pastor, Iconographies of terror and Memento mori by Ileana Diéguez (2016), Corporeality (Michel Bernard), Performance (Diana TAYLOR, FABIÃO and VILLAR), War (Fernández-Montesinos) poetry (Audre LORDE).

Assuming the inclusion of the Deaf community as one of the bases of this research, we seek to identify effective situations of social oppression in this minority, using creative tools to transform this reality. This research is an attempt to raise awareness about the importance of developing relationships between Deaf and hearing people, in an inclusive process, recognizing the distance between them. The objective is to reduce the communication barrier between these two cultures, using Theater-Image as an aid tool within a virtual creative process, in a relationship of exchange, thus recognizing the cultural distance between them, modifying this reality. I use action research as a method, with adaptation to virtual practices due to the Covid-19 pandemic, having as a stimulus the Theater-Image, a technique located in the trunk of the Tree of the Theater of the Oppressed, chosen by Augusto Boal as a metaphor to synthesize and represent the method and Aesthetics of the Oppressed. As inspiration: their own personal luggage, in a work through sensitivity, recognizing and improving, in this path, individual and collective relationships. Since theater is an effective political tool, I seek to expand the notion of belonging and understanding of the existence of two cultures in the same country, in order to make the participants of the creative process aware and recognize themselves as agents of change.

The Baobab movement presented in this thesis is composed of a root, which grows in a soil, trunk and ramifications, the root being the matriarch Germaine Acogny, African dancer and founder of École des Sables. This investigation was born in order to reforest thought and imagination, through an Afro-referenced dance. The methodological path in this research is anchored by the idea of participatory methodology, approached by Paulo Freire and Carlos Brandão, who portray the need to create an alternative research method, learning to do it better through action, in the dialectical relationship between objectivity and subjectivity. The research crosses the theoretical field and crosses the Continent reaching Africa for the field phase. Between epistemology and practice it was 11 years. As a result of this period of intense experience with the universe of African dance and the technique of Germaine Acogny, it was possible to build together with the artist who reveals herself through the translation into Portuguese of her classic work Danse Africaine, originally published in 1994, in French, German and English. The translation of this work as a result of this research makes knowledge about African dance accessible. The research made objective and subjective connections, especially when it crosses the experiences in this universe of investigation with issues related to epistemological racism and whiteness. In the field of Performing Arts, notably dance, this thesis contributes towards making epistemologies that were once invisible accessible.

This PhD thesis explores the practices of collaborative creation and stage direction oriented toward theatrical initiation. The dissertation includes autobiographical elements of the author's artistic trajectory, the initial research questions, and the methodological selection of the practice as a research approach in the field of art. The author's previous experiences in stage direction support the discussion on the use of the term collaborative creation and rotating scene direction. Stage direction is understood according to  the work of three contemporary directors: Mnouchkine, Bogart, and Jatahy. The dissertation also draws from scholarship on theatrical pedagogy, paying special attention to Brecht's Learn Games, the Process Drama and the notion of Pedagogue-Director, according to Koudela, Cabral, Knébel and Haderchpek. The composition of critical thinking and dialogic education is approached from aspects of the Brazilian democratic crisis, the undermining of the debate, the degradation of social communication, and the restriction of academic freedom. The author addresses different aspects such as cultural diversity, and the co-presence of knowledge and collaboration in dialogue with Freire, hooks, and Souza Santos. The work offers and analyzes two collaborative laboratories for stage creation carried out in the city of Pelotas/RS in 2018, one in basic education and another in higher education. The members of the laboratories learnt how to observe, imagine, act and evaluate collaboratively, as the author describes and analyzes in the PhD work. The defense of the theatrical initiation in a period of democratic crisis is based on the notion of democratization of knowledge and culture, but also on the problem of authorship and co-authorship, in dialogue with Chauí, Souza Santos, Brecht, Boal, Cornago and Saumell. Finally, the author defends the need of promoting theatrical practices of creation and collaborative direction as an artistic-pedagogical way for training in the last years of basic Brazilian education.

this thesis is made and redone all the time, for now it is essays, dramaturgy, poetry, letter... parts, fragments, how fragmented is its author - a black man, genuinely afro-american - an artist navigating in multiplicity, in which he mobilizes survival technologies to respond to his internal anguish, including for multiple creations inside and outside the Performing Arts... The parts/fabrics of the thesis are transversal and do not follow a linear order: both texts and images carry in itself, a cosmos capable of shaping aspects of transdisciplinarity in and for research that has principles of autoethnography, decoloniality, ergology, ethnoscenology, creation in art and the reticence that punctuate the possible dialogical character... the making of this thesis in art is, above all, art...

This thesis stems from a research that intends to be mobility. It was animated by the term research in motion, brought by Ciane Fernandes in her Somatic-Performative methodology. Initially transiting between Visual Arts, Dance and Somatic Education – especially the Feldenkrais Method and the Body-Mind Centering℠ – elements were incorporated to transmute into dance researches. According to the opportunities, the mishaps of the route and the pandemic context, Possible flows occurred in moments of surprise, artistic events and study situations. Two actions were composed: A morta, which investigates the stillness in dance, and La Vache, an experimentation in the drag world. These actions embodied the theoretical approaches and the elaboration of the Propositions of approximation carried out with doctoral colleagues and in classes from the Dance, the Theater, and the Interdisciplinary Bachelor's Degree undergraduate courses at UFBA. They are transdisciplinary propositions to poetically experience the perception of oneself alone and with the other in movement, through practices of anatomical perception in actions of stillness, micro-movements, palpations and exploration of materialities related to the anatomy of the body in dance, and share the investigation of qualities of movement in articulation with temporality. Are presented the stimulus that composed the research, such as oracles, as well as reports, study plans and textual flows, which condense and elaborate desires, crises and pleasures. The research and its writing were permeated by issues related to improvisation, materiality, anatomy, temporality and the re-elaboration of words related to artistic actions. The main references are the people who took part in the propositions, and their contributions appear throughout the texts as co-authors. In addition, Lygia Clark and Suely Rolnik were important sources to confirm ways of operating, especially through the work Caminhando, and the comprehension of sharing as propositions. Agambem and Deleuze are authors who also permeated this research at different times, especially in the discussion about propositions, previously named devices. The main verbs that indicate the actions in the research process brought an indication of method to the research, in short, a shared process of doing-undoing-learning with special attention to temporal distension, micro movements and single instructional actions. The collective actions proposed make up the urgency to continue to create new meanings, share and transform. 

This research investigates a state of body when improvising referred to as body-thing. A
three main questions: How to de-spectacularize the body in dance? How to
Decentralize the body in dance? How to objectify? I propose a discussion about the
understanding of the body-thing and its dance as relations between matters, based on Lepecki's
Lepecki's (2010) proposition of an agencying of the body with the thing. A
despetacularization brings reflections about writing and presence (GUMBRECHT, 2010) in
dance, questioning an insignificant dance, and the consideration of improvisation as an experience of language
as a language experience (FOGEL, 2017), also dialoguing with the authors
BARDET (2014) and LOUPPE (2012). Decentralizing invites us to look at the body
body, which is in evidence (SANDER, 2009), from the relationship with the policies
of subjectivation of the body, in the interlocution with Rolnik (2019), and thereby propose a dance
vulnerable. The third part is still under development, and I bring a commentary on
some concepts that I intend to research, to discuss about the term thing and an
agencying of the body with matter.
Keywords: Dance. Improvisation. Body. Thing

The aim of this thesis is to analyze creative processes in dance that are based on aesthetic matrices and afroamerican roots in Argentina and Brazil, specifically in Humahuaca, Jujuy and Salvador de Bahia. Based on methodological procedures that are close to the practice-performative, I will enter into cultural manifestations that are understood as performances. Specifically, I work in the context of the Huamhuaca Carnival, performing a description and analysis of Andean and Afro-American cosmoperception, specifically Bantu, from the idea of Pacha and in relation to the notion of time-space analyzed from the Bantu-Kongo cosmogram. I re-dance my practice in this paper, as a dancer-educator-capoerista of Andean and Afro-Brazilian dances and I question the institutionalized forms of so-called folkloric dances, intending archives from the repertoires of current bodies. The work seeks to destabilize Cartesian forms of research, creation and production in dance, highlighting racism and sexism in the historical construction of dances that established ways of being, disciplining bodies and creating imaginary identities. One of the ideas that runs through this work is that it is possible to destabilize archives and rethink corporal repertoires based on the new dance possibilities that emerge at parties, in collective forms of organizing to dance, and in the productions and creations in artistic communities.  

In the search for the interaction between music and theater, this research aims to systematize theatrical games based on musical elements.  Therefore, this study proposes to think about the (re) elaboration of games that assist in the preparation of the actress in her creative processes.  For this, existing games will be searched and adapted, as well as training methodologies for the actress / actor arriving, finally, the creation of new games.  The proposed methodological approach is designed for the body preparation of women, which makes the research present a gender perspective, in which specificities of the female gender, such as the musicality of the actress's body, will be discussed.  In this sense, the research aims to contribute to the expansion of ways of making / thinking the preparation of the actress on stage, reflecting on how much the musical elements, such as: rhythm, melody, harmony, dynamics, aligned with the body preparation of a creative process of theater, can enable the actress' body to expand her expressions and body movements.

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.