A carregar...
Publicação
A Síndrome de Alípio : Estudo do Martírio Cristão como evento performático : do sofrimento e da morte como espectáculo a ver
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 1.45 MB | Adobe PDF |
Resumo(s)
A tese A Síndrome de Alípio é um estudo de Artes Performativas que institui o Mártir e o Martírio Cristão como origem de um conjunto de práticas performativas que se associam a um tipo particular de gosto – o gosto por situações de dor e de morte como espectáculo a ver. Analisando as Actas dos Mártires dos primeiros séculos do cristianismo, a investigação experimenta a relação entre a performance e o evento do martírio, decifrando nele o universo das práticas performativas associadas à exibição da dor como espectáculo.
A investigação certifica que, no martírio, tanto os mártires como o público se encontram numa linha artística com uma preocupação performativa e/ ou estética da morte. Estabelece a existência desse tipo particular de performance, a dos mártires, como correspondendo ao exercício de esteticização da dor, uma formatação artística do evento que dá a morte ao mártir, concretizado dentro das premissas que pertencem ao género da performance e ao domínio do espectáculo, abordando, também, as paixões dos mártires inscrevendo-as na pré-história da Body Art performance.
Na performance do martírio testam-se os limites da fisicalidade, da dor, e das capacidades vitais, o mártir explora a sua sustentação da dor exibindo-a para um público particular, que é apreciador desse sofrimento, uma via de espectáculos que se verifica contemporaneamente.
Simultaneamente, a investigação esclarece que existe um tipo de público ávido de espectáculos de sangue, e que a memória tanto dos mártires, como do público que a eles assistia, existem nas produções da contemporaneidade, sejam elas artísticas ou acidentais. O estudo dos Mártires surge como ponto de partida para a compreensão dos dias de hoje, onde o decoro já não pervive e a obscenidade toma o lugar da cena, como espectáculo.
The thesis The Alipio’s Syndrome is a study of Performative Arts that establishes the Martyr and Christian Martyrdom as the origin of a set of performative practices that are associated with a particular type of taste - the taste for situations of pain and death as a spectacle to see. Analyzing the Acts of the Martyrs of the first centuries of Christianity, the investigation experiments the relationship between performance and the event of martyrdom, deciphering in it the universe of performative practices associated with the exhibition of pain as a spectacle. The research confirms that, in martyrdom, both the martyrs and the public find themselves in an artistic line with a performative and / or aesthetic concern of death. It establishes the existence of this particular type of performance, that of the martyrs, as corresponding to the exercise of esteticization of pain, an artistic format of the event that gives death to the martyr, concretized within the premises that belong to the genre of performance and to the mastery of the spectacle, addressing also the passions of martyrs inscribing them in the prehistory of Body Art performance. In the performance of martyrdom the limits of physicality, pain, and vital capacities are tested, the martyr explores his support of pain by displaying it for a private audience, who is fond of this suffering, a way of spectacles that happens contemporaneously . At the same time, the investigation clarifies that there is a type of public eager for blood shows, and that the memory of both the martyrs and the public that attended them exist in contemporary productions, whether artistic or accidental. The study of the Martyrs emerges as a starting point for understanding today, where decorum no longer exists and obscenity takes the place of the scene as a spectacle.
The thesis The Alipio’s Syndrome is a study of Performative Arts that establishes the Martyr and Christian Martyrdom as the origin of a set of performative practices that are associated with a particular type of taste - the taste for situations of pain and death as a spectacle to see. Analyzing the Acts of the Martyrs of the first centuries of Christianity, the investigation experiments the relationship between performance and the event of martyrdom, deciphering in it the universe of performative practices associated with the exhibition of pain as a spectacle. The research confirms that, in martyrdom, both the martyrs and the public find themselves in an artistic line with a performative and / or aesthetic concern of death. It establishes the existence of this particular type of performance, that of the martyrs, as corresponding to the exercise of esteticization of pain, an artistic format of the event that gives death to the martyr, concretized within the premises that belong to the genre of performance and to the mastery of the spectacle, addressing also the passions of martyrs inscribing them in the prehistory of Body Art performance. In the performance of martyrdom the limits of physicality, pain, and vital capacities are tested, the martyr explores his support of pain by displaying it for a private audience, who is fond of this suffering, a way of spectacles that happens contemporaneously . At the same time, the investigation clarifies that there is a type of public eager for blood shows, and that the memory of both the martyrs and the public that attended them exist in contemporary productions, whether artistic or accidental. The study of the Martyrs emerges as a starting point for understanding today, where decorum no longer exists and obscenity takes the place of the scene as a spectacle.