Práticas artísticas horizontais: o trânsito entre o grupo ZAP 18 e o bairro Serrano

• Ano de defesa: 2018
• Autor(a) principal: Gustavo Falabella Rocha
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: ZAP 18; Práticas-horizontais; 1961-2009; Levante-artístico; Teatro; Representação teatral
• Link de acesso: http://hdl.handle.net/1843/LOMC-BBPHYK

For fifteen years in Serrano neighborhood, in periphery of Belo Horizonte, the theater group ZAP 18 (Artistic Peripheral Zone) develops its artistic work, based on a research that thinks the bond between theater and realities. One of the practical results of the groups research is the play 1961-2009, from 2009, that tried to portray Brazilian History from de 1960s to the upcoming days. The play fulfilled a six-year career and was used here in this research as an articulator to comprehend therelationship between ZAP 18 and the Serrano neighborhood. The question that has moved the research here presented was: How the creative experience of 1961-2009 has influenced the bond between the group and the neighborhood and has it delineated a return of a renewed relationship between ZAP 18 and the city of Belo Horizonte? To answer this inquiry I have studied 1961-2009 six-year-career, that had differentversions through time, usually adapted to the context in which the seasons of the play took place. In order to bring back memories of the play and the creative process, I have looked into the Protocol Notebooks, a collective tool to register the rehearsals and performances of the play. I also have interviewed some of the artists involved in the process and I have used my personal memories as researcher, artist and activeagent present throughout the entire process analyzed here. Having that in mind, we realize that the creative process, radically horizontal, of 1961-2009 was a cornerstone in the groups path. Furthermore, the work of ZAP 18 in Serrano and its bond with the neighbors forge what could be named place of self-political poetics. At last, considering the current artistic production of the group, and bringing up some ideas from Hakim Bey, I point out that ZAPs headquarters could be seen as an artisticuprising, that is, where sudden artistic experiences take place, providing multiple spatial practices