Obs-cenidades aterrorizantes: corpo e terror em movimento

Abstract

With the intention of expanding the panorama of investigations into creative procedures in dance and the possibilities of interchange in studies of the body and politics, this research intends to present an investigation that has terror as its foundation. Based on the presupposition that it is possible to instigate various kinds of perceptions and sensations in the spectator of a dance piece, we intend to present the materials developed in a research practice that seeks, during fruition, to stimulate fear-related sensations in the spectator, pointing out examples of narratives that use the allegory of terrifying political situations to question episodes of terror in today's society. It also seeks to make a survey of examples of artistic works that used/use as a basis the mechanisms that have a relationship with the horror genre. In an objective way, this research uses the triad Terror (cinematographic genre) - Dance - State Terror, in order to try to answer or offer discursive ramifications to the question: How to generate terrifying states of body in the field of dance using State Terror as allegory? The hypothesis is that it is possible to develop terrifying states of body in dance, using the referential field of State Terror as a stimulus, combined with an understanding of the scenic artifices used by works of various artistic modalities - primarily cinema, but also dance, theater and performance. The following authors were articulated for these studies: Carroll (1999), Mbembe (2003; 2016), Safatle (2015), Cohen, Jerome, James, Ian (2007), Rengel, (2015), Manso (2020), Fernandes (2014; 2020), Vargas, Pinho (2016), Guimarães (2012; 2017), Cavarero (2009), Flauzina (2006), Foucault (2002), Rodrigues, (2006), Vieira (2012), Courtine (2006), Coelho (2008), Santaella (2007).