ETHICS AND CHOREOGRAPHIC COMPOSITION IN DANCE
ethics, politics, poetics, choreographic composition, Dance Library.
This doctoral research inquires about the ethical exercise in dance as a practice of poetic-political imagination (LEPECKI, 2010) that dynamizes our capacity to act, to affect and to be affected, and focuses on the production of difference (DELEUZE, 1997) and on singular modes of subjectivation (CUNHA, 2021) in the temporary encounter with choreographic works. The thesis will be organized into four chapters, using Practice as Research (FERNANDES, 2013) as an investigation methodology in order to analyze ethical-performative devices present in choreographic works. This methodology instigates the interconnection between research, creation and realization, as mutually dependent processes in terms of procedures and of knowledge construction. In the theoretical framework, it articulates notions such as performative / embodied historiography (FABIÃO, 2012; MACHADO, 2014; RAMOS 2021, CASTILLO, 2020); oralitura (MARTINS, 2021); fiction (RANCIÈRE, 2005; LE GUIN, 2021); affection (SPINOZA, 2020; PAIS, 2021); performance telling (HERBORDT / MOHREN, 2017) and drive dramaturgy (ROCHA, 2016; SCHIAVON, 2019). Such perspectives favor the understanding of how some compositional decisions project shared space-times that talk about the ways in which we elaborate our collective life and how we imagine other possible collaborative scenes. The research is being carried out between Brazil and Germany, in a sandwich doctorate format, dialoguing with artists, spectators and works with emphasis on the choreography Biblioteca de Dança / Dance Library (2017) by Jorge Alencar and Neto Machado (Bahia, Brazil), the performative archive Das Schaudepot (2021) by the duo Die Institution (Germany) and the choreographic installations Retrospective (2012) and Temporary Title (2015) by Xavier Le Roy (Germany). From the investigation, it has been possible to demonstrate how experiences in dance activate an eminent ethical-political dimension, whether in the poetics of the works themselves and/or in the reciprocal agreements between artists and audiences, which sustain certain forces, mobilize affections, dynamize our potency.