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Estado de Insurgência : performance, política e resistência nas práticas artísticas contemporâneas
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A presente dissertação visa, tendo como lente teórica uma antropologia da performance, analisar o modo como os agentes artísticos resgatam a performance do mundo social e mobilizam a «versão mediática» e a «teatrocracia» do poder no que alude ao «drama social» da Guerra Civil Síria. Analisa-se a performance artística enquanto espaço reflexivo que visa desconstruir as estruturas da experiência grupal a partir de uma política cénica ou coreográfica do chão. Para tal, atenta-se ao modo como as «matérias-fantasma» possibilitam uma compreensão do espaço cénico enquanto «lugar de memória» habitado pelas «assombrações» e os «desaparecidos» do conflito sírio. Analisa-se a performance da violência a partir dos corpos «sem órgãos» das Companhias Olga Roriz e Vidas de A a Z, evidenciando o modo como chão em que se dança/interpreta propõe uma arqueologia da violência sobre os corpos, transformando-os num microcosmo da guerra. A partir deste lugar procura-se por um entendimento dos performers enquanto agentes que reinterpretam a história e os discursos oficiais veiculados pelas estruturas de poder, fazendo da performance da violência o seu instrumento ideológico. Analisa-se o discurso performativo em torno da violência enquanto reconhecimento social do sofrimento, no qual a testemunha e a vítima dão suporte à construção de um «fazer-dizer» que procura expressar a violência no espaço social através do campo estético. O corpo é, assim, entendido enquanto «arquivo» do conflito sírio, recuperando as «versões fracas» e assumindo-se enquanto micro-resistência. Atende-se ainda ao processo de objectificação cénica que visa a mise-en-scène do drama social, permitindo que o objecto suba à cena enquanto agente social, tendo em vista a resistência político-cultural. Empreende-se também uma compreensão da performance enquanto espaço simbólico de contestação sócio-política, no qual também o próprio método de improviso se manifesta enquanto estratégia de resistência e descentralização do poder na dança-teatro. Posto isto, a dissertação tem como objectivo máximo procurar uma compreensão do «fazer-dizer» do corpo enquanto possibilidade de exercício de agência e resistência tanto face à estrutura artística, quanto a uma estrutura de dominação política.
The aim of this dissertation is to analyze the way in which artistic agents rescue the performance of the social world and mobilize the "media version" and "theater of power” in relation to "social drama" of Syrian Civil War. Artistic Performance is analyzed as a reflective space that aims to deconstruct the structures of group experience from a scenic or choreographic politics of the ground (Lepecki, 2011). For this purpose, it examines how ghost matters enables an understanding of the scenic space as a place of memory inhabited by the 'haunts' and 'disappeared' of the Syrian conflict. The performance of violence is analyzed from the bodies "without organs" of the Companies Olga Roriz and Vidas de A to Z, evidencing the way in which the floor that is danced / interpreted proposes an archeology of the violence on the bodies, transforming them into a microcosm of war. From this place I search for an understanding of the performers as agents who reinterpret the history and the official discourses transmitted by the structures of power, making the performance of violence its ideological instrument. I analyze the performative discourse around violence as a social recognition of suffering, in which the witness and the victim support the construction of a "make-say" that seeks to express violence in the social space through the aesthetic field. The body is thus understood as a "archive" of the Syrian conflict, recovering the "weak memories" (Traverso, 2012) and assuming itself as micro-resistance. It also addresses the process of scenic objectification that aims to mise-en-scène the social drama, allowing the subject to rise to the scene as a social agent (Gell, 1998), in view of political-cultural resistance. I also undertake an understanding of performance as a symbolic space of socio-political contestation, in which the very method of improvisation is also manifested as a strategy of resistance and decentralization of power in dance-theater. The aim of this dissertation is therefore to look for an understanding of the body's "make-say" as a possibility for the exercise of agency and resistance both in relation to the artistic structure and a structure of political domination.
The aim of this dissertation is to analyze the way in which artistic agents rescue the performance of the social world and mobilize the "media version" and "theater of power” in relation to "social drama" of Syrian Civil War. Artistic Performance is analyzed as a reflective space that aims to deconstruct the structures of group experience from a scenic or choreographic politics of the ground (Lepecki, 2011). For this purpose, it examines how ghost matters enables an understanding of the scenic space as a place of memory inhabited by the 'haunts' and 'disappeared' of the Syrian conflict. The performance of violence is analyzed from the bodies "without organs" of the Companies Olga Roriz and Vidas de A to Z, evidencing the way in which the floor that is danced / interpreted proposes an archeology of the violence on the bodies, transforming them into a microcosm of war. From this place I search for an understanding of the performers as agents who reinterpret the history and the official discourses transmitted by the structures of power, making the performance of violence its ideological instrument. I analyze the performative discourse around violence as a social recognition of suffering, in which the witness and the victim support the construction of a "make-say" that seeks to express violence in the social space through the aesthetic field. The body is thus understood as a "archive" of the Syrian conflict, recovering the "weak memories" (Traverso, 2012) and assuming itself as micro-resistance. It also addresses the process of scenic objectification that aims to mise-en-scène the social drama, allowing the subject to rise to the scene as a social agent (Gell, 1998), in view of political-cultural resistance. I also undertake an understanding of performance as a symbolic space of socio-political contestation, in which the very method of improvisation is also manifested as a strategy of resistance and decentralization of power in dance-theater. The aim of this dissertation is therefore to look for an understanding of the body's "make-say" as a possibility for the exercise of agency and resistance both in relation to the artistic structure and a structure of political domination.
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Palavras-chave
Memória Resistência Guerra Civil Síria Jihadismo Global Crise Mundial de Refugiados Companhia Olga Roriz Companhia Vidas de A a Z Dança-teatro Memory Global Jihadism Syrian Civil War European refugee crisis Olga Roriz Company Vidas de A a Z Company Dance-theater