Detalhes bibliográficos
| Ano de defesa: |
2015 |
| Autor(a) principal: |
Arrais, Joubert de Albuquerque |
| Orientador(a): |
Katz, Helena |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Comunicação
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/4748
|
Resumo: |
In the 21st century, dance has been conveyed in reality television shows for new talents. The images displayed configure a discourse which celebrates a neoliberal competence. According to such discourse, competitions and entertainment transform the dancing body in a midiatic product, which strongly bonds with the so-called selective auditions. We problematize this kind of presence of the dance on TV with the theoretical proposal of Competent Discourse (CHAUÍ, 2014, 1981) and we read it from the Theory Bodymedia (KATZ & GREINER, 2015, 2005). Our hypothesis is that the programs that compose such televisual segment transform themselves into the bodymedia of the fundamental values of neoliberalism. The titles of many of them already show the mediatic relations and communication ties with the neoliberal values, engineered as competent discourses on competence which formulate, biopolitically, the competent body that needs to show their competencies publicly. We emphasize the program and North American franchise So You Think You Can Dance (Fox 2005-2015), known by the acronym SYTYCD, which also composes our research object. This program produced some authorized replications by spreading throughout the world a "so-you-think" way of making the body dance. One of them is a franchisee program in Portuguese, Achas Que Sabes Dançar?(SIC, 2010, 2015). In Brazil, it is broadcast as a non-franchised and controversial version called Se Ela Dança, Eu Danço (SBT, 2011, 2011) .The research suggests that publicly showing 'selective auditions', which were before situations relegated to backstage, made them become biopolitical dispositives (FOUCAULT, M.; AGAMBEN, G.; ESPOSITO, R.; FREIRE FILHO, J.; PRADO, J. L.A.) of the model of the competent body to dance , in which competence is associated with competition. The association between competent and winner becomes an abyssal line (SANTOS, B. S.) of invisibility production for all the bodies which do not fit in the logic of new capitalism (SENNETT, R.) and artist capitalism (LIPOVETSKY, G. & SERROY, J.). The objective is to critically reflect upom the reach of the discourse of the dancing body, that mediatizes itself and it engenders in society |
