Memórias e ficções coletivas: a autoficção como exercício de reelaboração do lugar no teatro latino-americano

• Ano de defesa: 2024
• Autor(a) principal: Mattos, Rafaela de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em Artes Cênicas
• Palavras-chave em Português: Memória coletiva; Collective Memory; teatro latino-americano; Latin American Theater; autoficção; Autofiction; teatro de rua; Street Theater; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO; Teatro; Teatro latino-americano; Cartografia; Investigação narrativa (Método de pesquisa); ODS::ODS 11. Cidades e comunidades sustentáveis - Tornar as cidades e os assentamentos humanos inclusivos, seguros, resilientes e sustentáveis.; ODS::ODS 4. Educação de qualidade - Assegurar a educação inclusiva, e equitativa e de qualidade, e promover oportunidades de aprendizagem ao longo da vida para todos.
• Link de acesso: https://repositorio.ufu.br/handle/123456789/43483; http://doi.org/10.14393/ufu.di.2024.352

This dissertation elaborates on how theater intervenes in the relationship established with places through works that have memory as a guiding axis, with the notion of collective autofiction serving as a link between theater and the relationship with the place. Thus, the research discusses the power of being together in actions mediated by theatrical events. The work presents this reflection through the analysis of practices of theater groups in Latin America, with emphasis on the Estopô Balaio Collective from São Paulo, Brazil. To achieve these objectives, the methodological approaches adopted were cartography, closely linked to the exercise of visual essay proposing an alternative textuality to writing, and narrative research, most of all through the construction of a text that oscillates between personal narratives and collective debates, in a process of constant re-elaboration involving myself, others, and the world. In dialogue with the theoretical and artistic framework, including notable figures such as Leda Maria Martins (2023), bell hooks (2022), Milton Santos (1988), André Carreira (2012), Ecléa Bosi (2004), as well as cultural groups like Yuyachkani Cultural Group, Grupo Carmin, Cia KIMVN, and Coletivo Estopô Balaio, the dissertation demonstrates a trend in contemporary Latin American theater to rewrite the stories of places, envisioning a plural narrative that does not reduce societies to a hegemonic image. In this sense, two impactful forces were noted: the street and the community. Lastly, the research demonstrates that theater, through the practice of collective autofiction, calls upon the community to reinterpret the memories of the place, thereby proposing new images of it. With this movement, places become practiced by their inhabitants and accommodate new narratives about themselves, reinforcing the bond between the community and the place and contributing to a sense of belonging.