Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Laurentiis, Clara Barzaghi de
 |
| Orientador(a): |
Pelbart, Peter Pál |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| 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 Psicologia: Psicologia Clínica
|
| Departamento: |
Faculdade de Ciências Humanas e da Saúde
|
| País: |
Brasil
|
| 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/22499
|
Resumo: |
When Mapa Teatro laboratory of artists chooses to develop an Anatomy of violence in Colombia, the group abandons the univocality of historical documents to combine them with fake truths or sincere lies, in order to create ethnofictions which raise perspectives that do not correspond to History’s dominant narrative. This dissertation has as theoretical reference the notion of ethnofiction, term coined by the antropologue and filmmaker Jean Rouch, and seaks to analyze some of Mapa Teatro’s works that articulate historical documents and fiction to look critically towards certain contexts. I present a cartography of the course mapped out by the group, whose approach abandons the univocal discourse that usually describes violence or delegates its legitimate monopoly to the State. By admitting multiple points of view, which are manifested in the production of Mapa Teatro, this dissertation presents perspectives that move from State's theoric codification of violence, allowing for non-moral or moral analysis of the various forms under which violence is distributed by the social body. Such an approach considers the different ways the group works violence as raw material, understanding them as critical and aesthetically oriented attitudes |
