MEMÓRIAS E ESCRITAS DE MULHERES (IM)POSSÍVEIS: DANÇAR, ESCUTAR E ENCORESCREVER O CORPO

Abstract

This investigation, of a theoretical-practical nature, fits into the perspective of an ethnography that is also an autoethnography. It is a thesis-creation, a junction between a creative process and its artistic developments and the written text. Its object is the process of scenic creation and writing, which emerged during the practice of a laboratory of creation in dance-theater, referenced in the Bauschian creative process and in the use of memory as a resource for body work and for self-writing. The laboratory had the participation of women, between 20 and 36 years old. The general objective was to understand how the creative process affected the self-writing of the interpreters-creators, through the work of scenic elaboration of personal memories. The creative laboratory provided a privileged space for listening to oneself and others. The methodological operator in this thesis was the creative process of dance-theater as inaugurated by Pina Bausch, in which memories and body and discursive writings play a leading role. In this case, and unlike the processes with Pina, only women were part of the laboratory and the final scenic experiment. Two categories at the academic-poetic confluence emerged as a result of this research: encorewriting and the cyclical triad word-body-writing. Among the results, there are description and analysis of the creative process and the scenic experiment, where the characterization of a singular writing emerging in the process, and a spiral of creation, as well as a discussion about feminine subjectivation modes and feminine writings are located in the production in the arts, activated and recognized in the process of scenic investigation.