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Perspetivas de Interseção nas Artes Performativas: Sobre Fronteiras Conceituais, Dramaturgias Contemporâneas e Processos Criativos
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A presente escrita visa destacar o aspecto dinâmico das definições conceituais, considerando que este é um prisma significativo para pensar sobre as interseções nas artes performativas, as dramaturgias contemporâneas e os processos criativos na atualidade. Como as épocas são marcadas por diferentes modos de pensar os conceitos, o significado de dramaturgia se modificou e ganhou complexidade ao longo da história. No contexto contemporâneo, as perspectivas expandidas de dramaturgia ganharam ênfase, englobando desde texto até realização cênica, além de constituir também as escolhas estéticas e ideológicas. Visando promover uma reflexão sobre questões que emergem neste contexto de transformação, busco reunir autores e artistas que se relacionam com as perguntas-problemas que abrangem esta investigação, a saber: Como as trajetórias de ruptura ocorridas no século XX convergem para a questão das fronteiras conceituais e das interseções entre artes performativas? Que termos adotam os artistas que atuam nas interseções entre as artes performativas? Como a questão da nomenclatura é incorporada ao pensamento e à prática? Quais as principais transformações do conceito de dramaturgia, desde a perspectiva clássica à perspectiva contemporânea? Como a visão textocêntrica marcou e marca a perspectiva tradicional? Que respostas foram elaboradas para expandir a ideia de dramaturgia? E o que os artistas têm a dizer sobre essas questões? Inicio o percurso com uma demarcação do campo teórico abrangido por estas perguntas-problema e, em seguida, faço uma discussão sobre a questão central – acerca das interseções entre as artes performativas nas dramaturgias contemporâneas e a implicação disto na ideia de processos de criação. Por fim, trago dois casos práticos, sendo um a perspectiva de uma dupla de artistas portugueses, Sofia Dias & Vitor Roriz, e o outro um retorno à experiência que vivi no processo criativo do espetáculo SODADE (2015-2018), da Leandro Netto Companhia de Dança, em Fortaleza-CE (BR). Em seguida dos escritos de contexto acadêmico, incluir o discurso de coreógrafos/bailarinos (sobre sua prática artística) culminou na exemplificação de alguns contrastes e consonâncias entre a teoria e a prática, relacionando, assim, o que é produzido na academia com o que é produzido nos estúdios de criação. Através desse arranjo, criou-se um espaço para dar a ver algumas dissonâncias e concordâncias entre a perspectiva destes criadores e aquilo que foi escrito e articulado nas seções anteriores do presente trabalho.
This writing aims to highlight the dynamic aspect of conceptual definitions, considering that this is a significant prism for thinking about the intersections in performing arts, as well as contemporary dramaturgy and creative processes nowadays. As periods of time are marked by different ways of thinking about concepts, the meaning of dramaturgy has changed and gained complexity throughout history. In the contemporary context, the expanded possibilities of dramaturgy gained emphasis, ranging from text to scene realization, and constituting, also, as aesthetic and ideological choices. Aiming to promote thinking about matters that emerge in this context of transformation, I seek to gather authors and artists who relate to the questions that surround this investigation, such as: How the rupture tracks occurred in the 20th century converge to the matter of conceptual boundaries and the intersections between performing arts? What terms do artists who work at the intersections between the performing arts adopt? How is the matter of nomenclature incorporated into thought and practice? What are the main transformations of the concept of dramaturgy, from a classical perspective to a contemporary perspective? How does the text-centric view mark the traditional perspective? What answers were elaborated to expand the idea of dramaturgy? And what do artists have to say about these matters? I start this course with a demarcation of the theoretical field covered by these questions and then I discuss the central issue - about the intersections between the performing arts in contemporary dramaturgies and the implication of this in the idea of creative processes. Finally, I bring two practical cases, one consisting on the perspective of a pair of portuguese artists, Sofia Dias & Vitor Roriz, and the other consisting on a return to the experience I lived in the creative process of the piece SODADE (2015-2018), by Leandro Netto Companhia de Dança, in Fortaleza-CE (BR). In sequence of the writings in the academic context, to include the speech of choreographers / dancers (about their artistic practice), culminated in the exemplification of some contrasts and consonances between theory and practice, thus relating what is produced in the academy with what is produced in the studios. Through this arrangement, was created a space to show some dissonances and agreements between the perspective of these artists and what was written and articulated in the previous sections of this work.
This writing aims to highlight the dynamic aspect of conceptual definitions, considering that this is a significant prism for thinking about the intersections in performing arts, as well as contemporary dramaturgy and creative processes nowadays. As periods of time are marked by different ways of thinking about concepts, the meaning of dramaturgy has changed and gained complexity throughout history. In the contemporary context, the expanded possibilities of dramaturgy gained emphasis, ranging from text to scene realization, and constituting, also, as aesthetic and ideological choices. Aiming to promote thinking about matters that emerge in this context of transformation, I seek to gather authors and artists who relate to the questions that surround this investigation, such as: How the rupture tracks occurred in the 20th century converge to the matter of conceptual boundaries and the intersections between performing arts? What terms do artists who work at the intersections between the performing arts adopt? How is the matter of nomenclature incorporated into thought and practice? What are the main transformations of the concept of dramaturgy, from a classical perspective to a contemporary perspective? How does the text-centric view mark the traditional perspective? What answers were elaborated to expand the idea of dramaturgy? And what do artists have to say about these matters? I start this course with a demarcation of the theoretical field covered by these questions and then I discuss the central issue - about the intersections between the performing arts in contemporary dramaturgies and the implication of this in the idea of creative processes. Finally, I bring two practical cases, one consisting on the perspective of a pair of portuguese artists, Sofia Dias & Vitor Roriz, and the other consisting on a return to the experience I lived in the creative process of the piece SODADE (2015-2018), by Leandro Netto Companhia de Dança, in Fortaleza-CE (BR). In sequence of the writings in the academic context, to include the speech of choreographers / dancers (about their artistic practice), culminated in the exemplification of some contrasts and consonances between theory and practice, thus relating what is produced in the academy with what is produced in the studios. Through this arrangement, was created a space to show some dissonances and agreements between the perspective of these artists and what was written and articulated in the previous sections of this work.
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Artes Performativas Dramaturgia Dança Teatro Performance Processo Criativo Sofia Dias & Vítor Roriz Leandro Netto Companhia de Dança Performing Arts Dramaturgy Dance Theater Creative Process Sofia Dias Vítor Roriz