Dançando na beira: ficções em dança que materializam existências entre o “como” e o “se”

Abstract

This research looked at creative processes in the arts, especially dance, as specific treatments of worlds that sensitize us to differences and different ways of existing. By affiliating itself with authors of the so-called “ontological turn” in contemporary anthropology and philosophy - who work not only on the existence of multiple cultures, but above all of multiple natures - the thesis dialogues with the notions of limit, contingency, neighborhood and transformation. It confronted the problem that no body has access to the world as a thing in itself, that is, as an ultimate and unique substance, but rather that approximate relationships are established, which require auxiliary notions and creative mediations to materialize contingent worlds and presences. This approximate bodily condition of all knowledge production establishes interlocutions with authors who make different uses of fiction as a method or establish artistic arrangements in their research, such as Vinciane Despret, Leda Maria Martins, Tiganá Santana, Donna Haraway, Juan José Saer, Marie Bardet, Michel Bernard, Muniz Sodré, Saidiya Hartman, Hans Vaihinger and Eduardo Viveiros de Castro.The research therefore approached contemporary debates in the field of art, anthropology and philosophy, with notions of fictional autobiography, fictional theory of sensation, speculative fabulation, anticipatory narratives and oral readings.The linguistic and philosophical formulation “as if” made it possible to elaborate the notion of Edge as a way of using dance to discuss worlds as modes and not as substance.This thesis developed the notion of Edge as an ethical-aesthetic-political proposal that promotes a critical-creative gap in neighborly relations, adjacencies and approximations between experiences and knowledge. From Edge´s conception came the methodology of “fictional approach” and the artistic-pedagogical procedure of “choreographic micromythologies”, guided by the prudence of realizing that the opposite of the fictional is not in the false or the true, but in the univocal. In other words, the opposite of the fictional is to reduce the world to a single mode that claims access to the real and the truth.As such, dancing on the edge takes place through frictions with different regimes of sensibility, combining objective and subjective dimensions in an inseparable way, in a conception of the body that is experienced as a fictional portal to otherness.The fictional and frictional experiments that take place throughout the thesis establish both a theoretical network and a creative methodology, showing writing as a practice, divided into three parts: Second margin, Third margin and First margin.In each of them, the argument takes on different modulations: an essay production divided into eight sections; a dance in audiovisual record and a set of 20 choreographic micromythologies. These operations flex, in different compositional arrangements, the notion of Edge as a possibility of sustaining dance thinking based on artistic presuppositions, in dialog with other areas of knowledge and with transformative implications for the artistic practice of creation, teaching and research.