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O Simbólico e o inconsciente na performance: uma análise sobre a filosofia de Nietzsche, em relação ao processo de criação do artista
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Intitulada “O simbólico e o inconsciente na performance – Uma análise sobre a filosofia de Nietzsche em relação ao processo de criação do artista”, esta dissertação visa a uma perspectiva crítica sob os aspectos das condições do sujeito artista, que se utiliza do simbólico e do inconsciente, para se expressar através da performance, aliando-os à filosofia do referido autor alemão, a fim de se elucidar possíveis semelhanças e diferenças em que eles se deparam. O interesse por esses dois polos centrais investigativos de pesquisa, sendo ambos ainda bastante atuais, em que se buscam alternativas de descondicionamento do ser humano perante à sociedade, foi a questão da autonomia criativa do sujeito. Devido à presença de camadas da psique que oferecem conteúdos por vezes desconhecidos pela razão e que perpassam pelo corpo, o que estes poderiam auxiliar na reflexão e na autorreflexão sobre as inquietações pessoais e existenciais do artista-performer? O primeiro capítulo tem por intenção primeira, traçar uma panorâmica sobre as confluências de pensamento do objeto investigativo desta dissertação. Começa-se pela contextualização histórica da Grécia Antiga, visto que é relevante reconhecer as semelhanças de características comportamentais do homem ocidental daquela época, mais especificamente dos pré-socráticos, com a performance. Em ambos se encontram formas de reação, de enfrentamento e de respostas frente ao desconforto com o exterior que os afetaram e afetam em vida, e cuja afirmação da dor e do sofrimento propriciou a reconciliação de duas forças imanentes transformadoras, refletindo a própria arte, a própria vida: o dionisíaco e o apolíneo. Em seguida, para se obter uma melhor compreensão, busca-se registrar o elemento que assumirá grande proporção de veículo expressivo de pensamento, tanto para o filósofo como para a performance: o corpo como lugar da memória e do simbólico. A discussão a se apresentar nesse capítulo é dividida em subtópicos que interligam com os conteúdos do inconsciente. É nesse caminho do obscuro da psique que o território do simbólico entra como fator importante na performance, atribuindo assim o (re)conhecimento de valores a partir de novo solo que estejam em consonância com o corpo, com a vida, com a terra e com o outro. Procura-se por isso uma ligação direta de possibilidade ao retorno da subjetividade criativa do artista, refletida no processo de individuação junguiano. Por último, estabelece-se o capítulo em que as diretrizes são voltadas às diferentes fases do niilismo, no intuito de demonstrar as condições e transformações do sujeito, o da negação à superação do artista criador. Busca-se também aferir à metáfora nietzschiana das três metamorfoses do ser, como um projeto que propõe a transformação, a intensificação da vida e a superação do indivíduo, frente aos valores morais vigentes, através da primazia do criar sob o conhecimento e de suas ações, corroborando com a transitoriedade de tudo que vive.
Entitled "The Symbolic and the Unconscious in Performance - An Analysis of Nietzsche's philosophy in relation to the artist's creation process", this dissertation aims at a critical perspective under the aspects of the conditions of the artist subject, which uses the symbolic and the unconscious, to express themselves through performance, linking them to the philosophy of the german author, in order to elucidate possible similarities and differences in which they come across. The interest in these two research centers, both of which are still quite current, in which alternatives are sought for the deconditioning of the human being before society, was the question of the creative autonomy of the subject. Due to the presence of layers of the psyche that offer content sometimes unknown by reason and that pass through the body, what could help in reflection and self-reflection on the personal and existential concerns of artist-performer? The first chapter of this dissertation intends first to draw a panorama under the confluences of thought of the investigative object of this dissertation. It begins with the historical contextualization of Ancient Greece, since it is relevant to recognize the similarities of behavioral characteristics of the western man of that time, specifically the pre-socratics ones, with performance. In both there are forms of reaction, confrontation and responses to the discomfort with the exterior that affected them in life, and whose affirmation of pain and suffering led to the reconciliation of two transforming immanent forces, reflecting art itself, life itself: the dionysian and the apollonian. Then, to obtain a better understanding, it is sought to record the element that will assume a great proportion of expressive vehicle of thought, both for the philosopher and for performance: the body as a place of memory and symbolic. The discussion to be presented also in this chapter is divided into subtopics that interconnect with the contents of the unconscious. It is in this obscure path of the psyche that the territory of the symbolic enters as an important factor in the performance, thus attributing the knowledge and recognition of values from new soil that are in harmony with the body, with life, with the earth and with the other. A direct connection of possibility is therefore sought for the return of the artist's creative subjectivity, reflected in the jungian process of individuation. Finally, the chapter is established in which the guidelines are directed to the different phases of nihilism, in order to demonstrate the conditions and transformations of the subject, that of the negation to the overcoming of the creative artist. It also seeks assess the Nietzschean metaphor of the three metamorphoses of being, as a project that proposes the transformation, intensification of life and the overcoming of the individual, in the face of prevailing moral values, through the primacy of creating under knowledge and its actions, corroborating the transience of all that lives.
Entitled "The Symbolic and the Unconscious in Performance - An Analysis of Nietzsche's philosophy in relation to the artist's creation process", this dissertation aims at a critical perspective under the aspects of the conditions of the artist subject, which uses the symbolic and the unconscious, to express themselves through performance, linking them to the philosophy of the german author, in order to elucidate possible similarities and differences in which they come across. The interest in these two research centers, both of which are still quite current, in which alternatives are sought for the deconditioning of the human being before society, was the question of the creative autonomy of the subject. Due to the presence of layers of the psyche that offer content sometimes unknown by reason and that pass through the body, what could help in reflection and self-reflection on the personal and existential concerns of artist-performer? The first chapter of this dissertation intends first to draw a panorama under the confluences of thought of the investigative object of this dissertation. It begins with the historical contextualization of Ancient Greece, since it is relevant to recognize the similarities of behavioral characteristics of the western man of that time, specifically the pre-socratics ones, with performance. In both there are forms of reaction, confrontation and responses to the discomfort with the exterior that affected them in life, and whose affirmation of pain and suffering led to the reconciliation of two transforming immanent forces, reflecting art itself, life itself: the dionysian and the apollonian. Then, to obtain a better understanding, it is sought to record the element that will assume a great proportion of expressive vehicle of thought, both for the philosopher and for performance: the body as a place of memory and symbolic. The discussion to be presented also in this chapter is divided into subtopics that interconnect with the contents of the unconscious. It is in this obscure path of the psyche that the territory of the symbolic enters as an important factor in the performance, thus attributing the knowledge and recognition of values from new soil that are in harmony with the body, with life, with the earth and with the other. A direct connection of possibility is therefore sought for the return of the artist's creative subjectivity, reflected in the jungian process of individuation. Finally, the chapter is established in which the guidelines are directed to the different phases of nihilism, in order to demonstrate the conditions and transformations of the subject, that of the negation to the overcoming of the creative artist. It also seeks assess the Nietzschean metaphor of the three metamorphoses of being, as a project that proposes the transformation, intensification of life and the overcoming of the individual, in the face of prevailing moral values, through the primacy of creating under knowledge and its actions, corroborating the transience of all that lives.
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Palavras-chave
Simbólico Performance Nietzsche Inconsciente Performance Symbolic Unconscious