Poesia e cena em Regurgitofagia, de Michel Melamed: o desejo que borra

• Ano de defesa: 2014
• Autor(a) principal: Raphaela da Silva Ramos Fernandes
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Michel Melamed; Fronteiras desguarnecidas; Poesia; Cena; Performance; Teatro; Representação teatral; Melamed, Michel, 1976- Regurgitofagia
• Link de acesso: http://hdl.handle.net/1843/EBAC-9Q3N4B

In order to converge desires, allowing freely their blots, I propose a study of the Regurgitofagia creation, of the performer-poet from Rio de Janeiro Michel Melamed. I refer myself to the play produced in 2004, with funds from the research grant RioArte, and to the homonymous book, released by the Objetiva Publisher in the following year. Although the written work had been published after the debut of the spectacle, it was from the words on paper that Melamed thought its performance, and he did it because his words already come filled of action and alive voice. The absence of a clear fuse, thus, reveals the impossibility of categorizing the artist´s work. In that sense, I perceive spectacle and book, at the same time, as poetry, scene, the appetite for each other and self-devouring. Before of I deepen myself in Regurgitofagia, however, I examine certain poetry that intends scene, because without cease was scene, and takes advantage of the profile of the new times for reaffirming itself without limits. Then, I investigate certain scene that itself aspire poetry, as always itself has known, resuming today the intensity of that conviction. In these phases, I intersperse texts and phrases of Melamed to the contributions of varied authors, as a preparation for the analysis of Regurgitofagia. Being worth me of two images that of a rolled in ball hedgehog in the middle of the road, suggested by Jacques Derrida, and the one of the strange measure that separates earth and heaven to those who dwell poetically, suggested by Martin Heidegger , I explore vibrations. Like this, I approach the journey of the subject that is enunciated since the writing until the performance, leaving of itself without be abandoned, and the flickering of the scene and of his actor, in a constant inside-outside of the chaos, inside-outside of the world. Those oscillations follow the route of the poetry, the one that increases the voltage of the life. I understand, therefore, be necessary prepare itself for receiving the jolt. In his work, Michel Melamed receives shocks as poetry. The spasms invigorate his body, make him available to the affectation, to the exchange of electricity. Melamed is a man that vibrates, either through performative writing, in an unquiet dialogue with the reader, either with the aid of the machine nicknamed of "Pau-de-Arara", which, on the stage, connects wrists and ankles, transforming sound reactions of the audience captured by microphones into electrical discharge. By vibrating, the artist is allowed to hurt, like the hedgehog, and allowing shelter for life, in a mysterious dwelling. With Melamed, I achieve certain region of intersection in which I glimpse to poetryscene and to scenepoetry. Or still: his poetryscenepoetry, since I cannot discern where begins a desire and another finishes. Constantly, they slide and (con)fuse themselves.