Alguma coisa importa? Entrelaçamentos entre pessoas e materiais nas artes da cena

• Ano de defesa: 2021
• Autor(a) principal: Lourenço Martins Marques
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; EBA - ESCOLA DE BELAS ARTES; Programa de Pós-Graduação em Artes; UFMG
• Palavras-chave em Português: Artes da cena; Objetos; Materiais; Companhia Suspensa; Tim Ingold; Perspectivismo ameríndio; Ingold, Tim, 1948-; Movimento (Encenação); Expressão corporal; Caracterização teatral; Criação (Literária, artística, etc.); Artes cênicas
• Link de acesso: http://hdl.handle.net/1843/43972; https://orcid.org/0000-0002-0092-8461

The present work seeks to discuss, in the context of the performing arts, how objects and materials participate and alter creations and artistic processes, operating a mutual transformation as they interweave human movements. It is supported that, in scenic works, it is not only the stories, representations and human narratives that are at stake, but also the profusion of movements that make up the fabric (meshwork) of relationships between humans and non-humans. The intended approach is opposed to the treatment given to the scenic materiality that approaches materials confined to the shape of finished objects, and that prioritizes their symbolic aspects, uses and representations. It is thus sought to discuss how the object idea itself has been obstructing the perception of materials, their movements and interweaving. In order to broaden the scope of the debate over the relationships between body and object in the performing arts, the present work seeks, in anthropology, especially in the book Being Alive, by Tim Ingold as well as in studies that address the cosmology of various peoples, subsidies for reflection on how different cultures imagine, describe and engage with materials and objects, discussing possible implications of the distinctions between nature and culture, mind and matter, human and non-human, in the way these relationships are established. Those questions are intertwined with the notes of authors such as Patrice Pavis and André Lepecki, as well as other artists and researchers who address the statute of objects in scene. Finally, it seeks to relate the aspects discussed throughout the research with the author’s artistic path and, in particular, with two shows performed in the context of the Companhia Suspensa: Alpendre (Porch), 2010, and Margem (Margin), 2016. When addressing the shows, it is sought to emphasize the research process and the technical dimension behind those works, in order to highlight the impact of the making of devices and gadgets, installation procedures and the relationship with different materials over the process of artistic creation.