Ética quando dança: uma biblioteca de com.posições político-po.éticas

Abstract

This research reflects on the ethical exercise in dance as a relational practice with a po.ethical and political bind that, by dynamizing our affections and powers (Costa, 2022; Deleuze, 2002; Pais, 2021; Spinoza, 2020), speaks about the motivations and consequences of our acts (Tiburi, 2014) and their possible inventive forces (Teixeira, 2023). With the primary objective of understanding about how compositional decisions affect the domains of the production of the common, the scene of the encounter, projecting shared spaces-times in the temporary experience that constitutes dance performances and choreographic situations (Le Roy, 2023), this investigation approaches the methodology of Practice as Research (Fernandes, 2013, 2014) imbricates investigation, creation and realization as interdependent processes. This perspective points to mobilizing questions such as: in dance, what ethical positions to take in the midst of moral im.positions? How does the concept of ethics participate in practices of performative naming within language, a cultural field, the public sphere? In what ways can the choreographic ethos of a dance work enhance imagination, conversation between differences and openings for dissent (Fiadeiro, Eugênio, 2019; Matos, 2014)? In the name of what are we choreographically composing? The research was carried out between Brazil and Germany, in a inter-university exchange doctorate format, dialoguing with artists, spectators and works, taking the work/project "Dance Library" (2017) as a generative element and methodological device for an epistemic attitude. This work/project brings together several artists-volumes that perform as living books in order to tell and dance choreographies that they watched as a way of archiving them in the body and on the scene, making up an open collection and in a continuous process in which notions are articulated as performative historiography (Castillo, 2020; Fabião, 2012; Machado, 2014; Ramos, 2021; Small, 2019); oralitura (Martins, 2003; 2021); fiction (Chauchat, 2017; Le Guin, 2021; Rancière, 2005); performance telling (Herbordt / Mohren, 2017) and drive-dramaturgy (Rocha, 2016; Schiavon, 2019). During the research, it was possible to highlight how certain choreographic experiences - some of them part of the “Dance Library” - activate a condition of being-being-acting in the world as a way of producing presence in arrangements of affection and desire in thought that is intimate with practical action. Whether in the poetics of the works themselves and/or in reciprocal agreements and coexistence circuits between artists and audiences, dance can move values embodied in a dramaturgy of active forces.