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A expressividade do corpo-sujeito na composição coreográfica : um estudo de caso.
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Resumo(s)
O presente estudo teve como proposta abordar a dança como forma de expressão artística, cujos meios incluem o corpo e os gestos criados/interpretados como um grande mosaico apontando para idéias, metáforas e sensações (Gil, 2001). Potanto, como forma de expressão de caráter intencional, a dança inaugura sobre o próprio corpo a construção de subjetividades, que se transformam em sistemas de significações (McFee, 1992; Katz, 2005). Foi adotada aqui uma vertente fenomenológica, pretendendo perceber e discutir como o corpo-sujeito se expressaria para o mundo, considerando a perspectiva do corpo dançante (Merleau-Ponty, 1945; Husserl, 2006). A fim de descrever, interpretar e explicar a expressividade durante o processo coreográfico considerou-se o coreógrafo e o performer como o mesmo corpo-sujeito num desempenho simultâneo. E ao adotar a metodologia qualitativa exploratória, foi apresentado um estudo de caso, a partir da obra solo De você para mim da autora Ester França. Foi analisado e verificado que a expressividade se desenvolvera a partir de uma relação intrínseca com o corpo-sujeito (performer/criadora), se revelando através da incorporação de pensamentos, emoções, sensações e de uma consciência intencional e imaginária. Tais conclusões confirmaram-se com achados bibliográficos revisados para este, incluíndo autores como Varela & Thompson (1993) e Sartre (1996).
ABSTRACT : In the present study, dance was considered as an artistic form of expression that has the body and its movements as basic means, which can be created and interpreted from ideas, metaphors sensations and feelings (Gil, 2001). Therefore, as a starting point, we characterized dance as a form of expression with an intentionality that drives the body to create subjectivities of many different forms, which through perception may turn into meaning (McFee, 1992; Katz, 2005). A phenomenological aspect was adopted to try to understand and discuss how the body also as a subject could express itself to the world when considering a perspective from the dancing-body (Merleau-Ponty, 1945; Husserl, 2001). In order to describe, interpret and explain expressivity during dance composition we adopted a qualitative exploratory investigation involving a case study about a solo piece (De você para mim) by França E. As selection criteria the choreographer was simultaneously the performer of the choreographic work. Through a qualitative analysis, a relationship between expressivity and the “body-subject” during composition was verified and was found to represent the embodiment of thoughts, emotions and sensations through the choreographer’s imaginary and intentional conscience. These conclusions also corresponded to the literature review fulfilled in this study such as Varela & Thompson (1993) and Sartre (1996).
ABSTRACT : In the present study, dance was considered as an artistic form of expression that has the body and its movements as basic means, which can be created and interpreted from ideas, metaphors sensations and feelings (Gil, 2001). Therefore, as a starting point, we characterized dance as a form of expression with an intentionality that drives the body to create subjectivities of many different forms, which through perception may turn into meaning (McFee, 1992; Katz, 2005). A phenomenological aspect was adopted to try to understand and discuss how the body also as a subject could express itself to the world when considering a perspective from the dancing-body (Merleau-Ponty, 1945; Husserl, 2001). In order to describe, interpret and explain expressivity during dance composition we adopted a qualitative exploratory investigation involving a case study about a solo piece (De você para mim) by França E. As selection criteria the choreographer was simultaneously the performer of the choreographic work. Through a qualitative analysis, a relationship between expressivity and the “body-subject” during composition was verified and was found to represent the embodiment of thoughts, emotions and sensations through the choreographer’s imaginary and intentional conscience. These conclusions also corresponded to the literature review fulfilled in this study such as Varela & Thompson (1993) and Sartre (1996).
Descrição
Mestrado em Performance Artística
Palavras-chave
Composição coreográfica Corpo-sujeito Dança contemporânea Expressividade Fenomenologia Gesto Performer Body-subject Choreography composition Contemporary dance Phenomenology
Contexto Educativo
Citação
Loureiro, Aline Veiga (2010) - A expressividade do corpo-sujeito na composição coreográfica : um estudo de caso. Dissertação de Mestrado. Universidade Técnica de Lisboa. Faculdade de Motricidade Humana.