Resumo:
This work’s assumption is that the images of a dancing body generate affectations. In this context, the dancing body is understood as an image in the flow of time (BITTENCOURT, 2012). The affectation, proposed here, leaves the condition of factual observation to give way to a type of performance in dance, moved by vulnerability. The vulnerability therefore is the necessary ignition for the composition of the dance, for It inserts itself in the strategic condition of a type of dance. The image is what promotes the visibility of the senses materialized in the body, emerging through the movements. Which implies thinking the images as power of affections. But, what would be a vulnerable body in dance? Even understanding vulnerability, in general, as the opposite of power, while in the scene: the frailty, as a sign of vulnerability slides into power from the body. This research bets on vulnerability as a dance composition or configuration strategy that intentionally affects the bodies in context. This way of performance in dance presents itself as an exposition of the body, the flesh; having as a premise of its performance the risk and the doubt. It lays bare because It exposes, by risk, the fragility as a quality inherent to the body. Away from stereotypes and early solutions. It is a dance that takes shape in the body by the typical images of fragility, by the very existence of the body.
