Resumo:
This thesis is an autoethnographic investigation that explores the process of artistic creation as an act of self-invention based on memory and affection. I have adopted evocative autoethnography as my methodology and writing genre, composing a subjective narrative that embraces the vulnerabilities, contradictions and uncertainties of creation. The writing recounts the journey that began with the desire to create a show inspired by my mother's memory, culminating in the theatre solo Aviamentos (2022). Through the metaphor of sewing, I interweave personal memories, theoretical reflections and scenic practices that reveal the reverse side of the creative process. From this experience I develop the notion of loving rebellion, understood as an insurgent and affectionate ethic that challenges reduction and proposes other ways of being in the world, both in the act of creation and in life. Loving rebellion dialogues primarily with notions of the vibrating body and complex thought. Artistic practice is the method and guide of the research, in which the body is a portal of permeability, where memories are woven and reinvented as a scenic presence. In dialogue with authors from the fields of art, psychology, literature, anthropology and philosophy, the work approaches memory as a social and dynamic phenomenon, updated through relationships and encounters. The notions of affection and community emerge as the foundations of creation and the modes of existence explored throughout the research. Rather than proposing a model, I seek to evoke or inspire, inviting other artists to follow their own creative paths, welcoming the reverse, the unfinished and the singular as transformative forces.
