Dando voz ao corpo dando corpo à voz: subjetividades de um corpo-vida

• Ano de defesa: 2013
• Autor(a) principal: Brito, Kalassa Lemos de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; BR; Programa de Pós-graduação em Artes; Linguística, Letras e Artes; UFU
• Palavras-chave em Português: Subjetividade na arte; Artes cênicas; Corpovoz; Subjetividade; Corpo-vida; Processo criativo; Corpovoz (bodyvoice); Subjectivity; Body-life; Creative process; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES
• Link de acesso: https://repositorio.ufu.br/handle/123456789/12330; https://doi.org/10.14393/ufu.di.2013.252

The present research is placed within the field of Performing Arts - Practices and Processes in Art - and intends to discuss / experience the connections between bodyvoice / subjectivities / creation. More specifically, I approach the matter of the actor´s job in relation to life-flow release of body-life in the creative process. Therefore, I have adopted procedures such as technical-poetic experiments, literature searching and reading, reflections, records, as well as the systematization of concepts and principles on the subject addressed. The route that was explored during this research points to the actor's work on himself/herself understood through a process of self study, taking as its starting point (my) own corpovoz ( bodyvoice) and subjectivity. Considering body and subjectivity not as a given and fixed identity which constitutes a subject, but as forces in dynamic and heterogeneous flux, which are always in movement, always in relation, being generated and recreating itself at every instant, according to their ability to affect and be affected, guided by the principles of otherness. In this sense, body, voice, emotion, thought, intuition, memory, presence and spirituality were worked out in search of a confluence and permeability between the elements in order to empower the affirmative aspects of life and creation. The practices which were experienced in the context of this work were able to create spaces for somatic reflection, allowing friction and physicalization of concepts and energies as well as they intended to establish a field where poetry and philosophy, body and mind, ways of being in the world and crafts, ethics and aesthetics are not distinguished. The procedures that were used include experiments with african-amerindian body/vocal matrices, with ritual chants, drumming shamanic and Body Alphabet exercises. In such path, I could see the power of working with rhythm, singing and movement in the process of releasing locks, make unstable the dichotomies and conditionings. Unraveling the subject, promoting relaxation of subjectivity, extension of perception, dissolving the substrate, activating the crossings, increasing the presence - forging new ways of being.