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Os movimentos para um devir improvisador: narrativas sobre a vivência de uma dançarina improvisadora
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A presente dissertação de mestrado pretende caracterizar as fases de meu percurso com a improvisação na dança ao longo de vinte anos de experiência com a dança. Seu fio condutor é minha história de vida, contada na primeira pessoa. Foi ele que serviu como ponto de partida para a exposição e a compreensão dos elementos e das possíveis implicações do corpo na improvisação.
Para o relato e a análise da prática de improvisação, recorreu-se à teoria de corpo em Spinoza, tal como lida por Deleuze e Guattari. Bem como a uma metodologia, baseada em documentos escritos e fotografados, que procede por reflexões indutivas e dedutivas próprias à análise qualitativa de conteúdo.
Sob o pano de fundo de um panorama da história da dança e dos movimentos culturais que influiram em sua formação no século XX, analisamos algumas vivências específicas de improvisação, como Contato Improvisação, Jam Session e Modo Operativo AND, priorizando a questão central da busca de um descondicionamento de padrões.
O resultado é um confronto entre as potencialidades da Dança Comtemporânea e a busca de um modo de improvisação aberta às múltiplas relações entre ambiente, afectado e afectando. Ou, mais precisamente, um modo de agenciamento das potências do corpo capaz de torná-lo apto a manipular as interações em busca de bons encontros, trazendo alegria e liberdade.
The research hereby presented intends to characterize the several stages my path with improvisation went through, along all the twenty years of my experience in dancing. Its threadline is my life story, told in first person. It served as a setting point for the exposition and the comprehension of the body’s elements and all its possible implications to improvisation. For the narrative and the analysis of improvisational practices, Spinoza’s theory of the human body, as read by Deleuze and Guattari has proved useful. As well as a methodology based in written and photographed documents that proceeds by the inductive and deductive reasoning, akin to the qualitative analysis of content. Against the background of a brief panorama of dance history and the cultural streams influential to its constitution during the twentieth century, we analyzed some particular experiences with improvisation, such as Contact Improvisation, Jam Sessions and MO_AND, highlighting their most central issue: the search for a deconditioning of the body from dominant patterns. The result is a confrontation between Contemporary Dance potentialities and the strive for an improvisational modus open to the multiple relations between environment, the one who affects and the affected. Or, more precisely, the agency of the body’s potencies which may enable it to manipulate interactions in search for good encounters, providing freedom and joy.
The research hereby presented intends to characterize the several stages my path with improvisation went through, along all the twenty years of my experience in dancing. Its threadline is my life story, told in first person. It served as a setting point for the exposition and the comprehension of the body’s elements and all its possible implications to improvisation. For the narrative and the analysis of improvisational practices, Spinoza’s theory of the human body, as read by Deleuze and Guattari has proved useful. As well as a methodology based in written and photographed documents that proceeds by the inductive and deductive reasoning, akin to the qualitative analysis of content. Against the background of a brief panorama of dance history and the cultural streams influential to its constitution during the twentieth century, we analyzed some particular experiences with improvisation, such as Contact Improvisation, Jam Sessions and MO_AND, highlighting their most central issue: the search for a deconditioning of the body from dominant patterns. The result is a confrontation between Contemporary Dance potentialities and the strive for an improvisational modus open to the multiple relations between environment, the one who affects and the affected. Or, more precisely, the agency of the body’s potencies which may enable it to manipulate interactions in search for good encounters, providing freedom and joy.
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Palavras-chave
Improvisação Dança Corpo Devir Ética de Espinosa Liberdade Filosofia Potência Subjetividade Encontros Afetos AND_Lab Improvisation Dance Body Becoming Spinoza’s Ethics Freedom Philosophy Potency Subjectivity Encounters Affections