Resumo:
This research proposes a reflection on the correlations between the foundations, principles, and logic of clown, buffoon, and larval masks, as well as their relationship with dance performances that incorporate comic elements into their scenic and creative compositions. The study identifies points of intersection, similitudes, and aesthetic, political, and interdisciplinary analogies in three selected shows: Tombé by Dimenti Produções, directed by Jorge Alencar (2002); Tráfego by Cia. Nova Dança 4, directed by Cristiane Paoli Quito (2010); and Larvárias by Cia. Do Giro, directed by Daniela Carmona (2004). The analysis is conducted by observing the concepts, aesthetics, and choreographic procedures of these works, using the three comic masks and the concept of Comicoreography as references. The intersection of the logics and principles of these masks with the shows promotes dialogues, debates, and reflections on the contexts in which they are positioned, highlighting political and social fissures and fractures. Methodologically, in addition to a solid bibliographical review, the research includes videographic analyses of the three shows, interviews with the artists involved in the creation of each work, as well as the creation and application of a system of variables for critical and reflective analysis of the shows. The system of variables-Rachadura, Encruzilhada, and Gozo-was inspired by the format of the analysis system presented by Foster (1986) to structure and deepen the reading of the intersections between comedy and dance. The research is grounded in studies by Bolognesi (2003), Costa and Duarte (2017, 2018), Brondani (2010, 2017, 2020), Sachs (2013, 2022), Burnier (2016), Lecoq (2010), Fo (1999), Linares (2011), and Reis (2013), which provide a foundation for understanding the analyzed masks . Regarding comicality and laughter on stage, the contributions of Bergson (1983), Propp (1992), and Minois (2003) are essential references. For the theoretical, methodological, and poetic support of the research, I draw on the ground of Bispo (2021), the crossroads of Martins (1997, 2021), and Rufino (2019), as well as the borders of Bona (2020). I also reference Strauss (1999), Hall (2006, 2016), and Goffman (2008) to help me understand identity. The intersection between masks and dance enables ruptures in established patterns while challenging dichotomous perspectives in scenic and artistic processes. Through these reflections, the research fosters new forms of choreographic and performative compositions, broadening the understanding of comicality as a critical, aesthetic, political, and creative mechanism within contemporary dance.
