ENTRE VISTAS: CORPO, DISCURSO E DANÇA

Abstract

This research deals with the coimplication between discourse and dance in the artist’s creative processes. For this, it proposes the elaboration of an equation between the terms body, speech and dance, far from a deterministic logic. Here, discourse and dance are characterized as two possibilities of producing knowledge that it is always related to the body, since they come from its condition of producing them. The body operates in a flow of changes, it is constituted of provisional states and in this procedural character, speech and dance are co-evolving as productions of the body. Producing a dance and producing a speech about this dance are actions of the same body. The configuration of the equation proposed in this dissertation presents a way of understanding that body, speech and dance as three instances of this same process. Although they have different aspects, they are intertwined, because in the body, they are simultaneous processes. The raised hypothesis is that the body, speech and dance operate in a logic of simultaneity because both occur at the same time, and somehow both are being reformulated, that is, are co-affected. Different from attesting to the condition of unity, the proposition is to discuss the specificities of each action, to dance and to write / talk about dance. The processuality of the body presupposes a condition of non-causality in this relational process. To understand this equation whose terms do not separate themselves from each other, each term was presented as a perspective of the process. In the perspective of the body, the articulation with Dawkins (1979), Prigogine (2009), Bittencourt (2012) and Britto (2008) allowed discussing the temporality of the body as a possibility to understand its procedural and unstable nature. From the perspective of discourse, Brandão (1998), Maingueneau (2013) and Foucault (1999) made possible the understanding of discourse as a construction of meanings related directly to its production conditions, its social and historical character. And from the perspective of dance, the accounts of Setenta (2008) and Tridapalli (2008) were the references chosen to share the possibility of thinking dance as a process of constitution of the subject. Each one of these perspectives presents itself as a point of view on the process of the artist’s dance composition in the relations established with what is in between, between dancing and discourse, which is seen in between-views.