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Pele que veste:
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Resumo(s)
O objeto de estudo desta investigação é o pensar sobre o design de figurinos, a partir de contributos somáticos e à luz da relação entre ancestralidade e dança. «Pele que Veste» o produto artístico-académico resultante deste trabalho é expressão dessa relação em que figurino é considerado um elemento visual de fundamental importância no contexto cênico e reflete sobre as relações que se estabelecem entre os vetores: corpo/figurino, no seu papel narrativo e de ancestralidade, no processo de construção cênica e repensa a noção do corpo enquanto representatividade do sujeito e também do figurino enquanto ressignificante da identidade deste sujeito em cena.
Em «Pele que Veste» enfatizamos a dupla dimensão, do espetáculo e a da vida real, e do corpo cénico que representa é possível percebermos o quanto a construção cultural e social significante, delimita ou potencia o processo de design - e de que modo promove a relação identitária da ancestralidade com o contexto cênico, na conjuntura figurino / mise-en-scéne / dança, relação pouco explorada na literatura científica.
A estratégia escolhida para dar suporte ao desenvolvimento desta investigação é o uso de uma metodologia mista, intervencionista e não intervencionista de base qualitativa e quantitativa que contempla a essência autoetnográfica do seu conteúdo.
The goal of this study is to investigate costumes considering the correlation between the concept of “ancestry” and dance in all its subjectivity. “Pele que Veste” is the artistic and academic result of the study. It is an expression of the idea that costume is considered a visual element of fundamental importance in the scenic context. It considers the intersection between “body” and “costume” - in its narrative role connected with the concept of “ancestry” and in the process of scenic construction. As well as rethinks the notion of the “body” as a representation of the subject as much as of the “costume” as subject’s identity on stage. In “Pele que Veste” we emphasize the existence of a “double dimension”: of the show and that of real life; and of the scenic body that it represents. With that it is possible to perceive how much the cultural and social constructions sets boundaries or enhances the design process. We can also see how it connects the ancestral identity with scenic context – taking into consideration the costume/mise-en-scéne/dance scenario. It’s also important to consider how a character’s costume may reveal social and cultural information such as devotion and symbols of local religiousness. Both topics little explored by the scientific community. The strategy chosen for the development of this investigation is the use of a mixed methodology: interventionist and non-interventionist, with a qualitative and quantitative basis – one that could contemplate the autoethnographic essence of the content analyzed in this work.
The goal of this study is to investigate costumes considering the correlation between the concept of “ancestry” and dance in all its subjectivity. “Pele que Veste” is the artistic and academic result of the study. It is an expression of the idea that costume is considered a visual element of fundamental importance in the scenic context. It considers the intersection between “body” and “costume” - in its narrative role connected with the concept of “ancestry” and in the process of scenic construction. As well as rethinks the notion of the “body” as a representation of the subject as much as of the “costume” as subject’s identity on stage. In “Pele que Veste” we emphasize the existence of a “double dimension”: of the show and that of real life; and of the scenic body that it represents. With that it is possible to perceive how much the cultural and social constructions sets boundaries or enhances the design process. We can also see how it connects the ancestral identity with scenic context – taking into consideration the costume/mise-en-scéne/dance scenario. It’s also important to consider how a character’s costume may reveal social and cultural information such as devotion and symbols of local religiousness. Both topics little explored by the scientific community. The strategy chosen for the development of this investigation is the use of a mixed methodology: interventionist and non-interventionist, with a qualitative and quantitative basis – one that could contemplate the autoethnographic essence of the content analyzed in this work.
Descrição
Palavras-chave
Ancestralidade/identidade Corpo em dança Figurino Pele que Veste
Contexto Educativo
Citação
Editora
Faculdade Arquitetura, Universidade Lisboa