Resumen:
This thesis proposes to look at the works of the Ateliê 23 company that make use of biographical and documentary material, intending to reveal the Scenic Bionarratives as a possible path in the construction of empathic movements between actor and spectator in favor of lives considered precarious. Considering the research object as an interdisciplinary field mediated by the look of autoethnography and cartography, its construction takes place by summoning interdependent notions, but fundamental to the understanding of the crossings that the group investigates on stage, ranging from performative theater to cognitive neurosciences. The investigation is based on revisiting the creative path of the works Persona (2015), On the lovely feeling of being useless (2016) and Helena (2018) by observing process documents, trends and testimonies of creative artists, from a critical perspective of creative processes. The research points to the use of pain and violence devices by the group, with the intention of elaborating new relationships with the spectator, imbued with guiding concepts such as the precarious condition of life and the aesthetics of shock. The spectacle, as an intended possibility in the production of presence and experience, combines with the notion of meaning as an activity of mirror neurons – fundamental to the construction of empathy as recognition of oneself in the other. The research, therefore, tends to conclude that the use of the live document on stage reverberates in the perception of consciousness and dialogues with the power of commotion that art has, as a political act of existence and survival of a community.
