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Formas coreográficas de reflexão histórica : “Para uma Timeline a Haver. Genealogias da dança enquanto prática artística em Portugal”
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Esta dissertação aborda a problematização da historiografia da dança no campo
expandido da coreografia, centrando-se nas “formas coreográficas de reflexão histórica” e
nas performatividades específicas de arquivo enquanto prática expandida. O objeto a analisar
é o projeto ‘Para uma Timeline a Haver. Genealogias da dança enquanto prática artística em
Portugal’, enquanto iniciativa que materializa um pensamento espacializado da história e do
arquivo, que se modela como pensamento coreográfico. Situando-se claramente na “nova
viragem performativa” e na “coreografia como prática expandida”, a investigação parte da
problematização dos usos modernos ocidentais das noções de coreografia, do arquivo e da
cronografia, propondo a revisão de diversas viragens e expansões epistemológicas que
lograram desgovernar aquelas noções. Nomeadamente, viragens e expansões no campo da
curadoria, do arquivo e da escrita. Afirmando a “exposição como investigação” e a “curadoria
como colaboração”, a pesquisa é atravessada por metáforas topográficas com foco nas
reconfigurações físicas e metodológicas do projeto, indagando sobre a experiência da
Timeline em dois eixos: o primeiro é relativo às diversas “constelações” materializadas num
dispositivo visual que ativa um pensamento crono-coreo-cartográfico; o segundo, centra-se
na ecologia curatorial coletiva do projeto. Eixos que, em articulação coreo-teórica, dão
espaço a uma multiplicidade de temporalidades e corporalidades. A partir daqui, propõe-se a
re-imaginação do arquivo e da historiografia como ferramentas para traçar um futuro comum.
Como resultado, esta dissertação contribui para a expansão do pensamento historiográfico
aventurando potencialidades para renovar as perspetivas da historiografia tradicional, e
oferecendo perspetivas para a sua reparação.
This research addresses the problematization of dance historiography in the expanded field of choreography, focusing on ‘choreographic forms of historical reflection’ and the specific performativities of the archive as an expanded practice. Within this approach, the thesis focuses on the study of the project ‘For a Timeline to Be. Genealogies of dance as artistic practice in Portugal’, as an initiative that materializes a spatialized thought of history and archive that is modeled as choreographic thought. Situated clearly in the theoretical frame of the “new performative turn” and the “choreography as expanded practice”, the dissertation starts from the problematization of Western modern uses of the notions of choreography, archive and chronography, proposing the revision of several epistemological turns and expansions that managed to ‘ungovern’ those notions. Namely, turns and expansions in the field of curating, archiving, and writing. Affirming the ‘exhibition as research’ and the ‘curation as collaboration’, the research is crossed by topographical metaphors focused on the physical and methodological reconfigurations of the project. Taking this into account, the experience of the Timeline is approached along two axes: the first one related to the several ‘constellations’ materialized in a visual device that activates a chrono-choreo-cartographic thought; the second one focuses on the collective curatorial ecology of the project. Axes that give space, by way of a choreo-theoretical articulation, to a multiplicity of temporalities and corporalities. From here, what this dissertation proposes is a re-imagination of the archive and historiography, as tools to trace a common future. As a result, it contributes to the expansion of historiographical thought, venturing potentialities to renew the perspectives of traditional historiography, and offering perspectives for its reparation.
This research addresses the problematization of dance historiography in the expanded field of choreography, focusing on ‘choreographic forms of historical reflection’ and the specific performativities of the archive as an expanded practice. Within this approach, the thesis focuses on the study of the project ‘For a Timeline to Be. Genealogies of dance as artistic practice in Portugal’, as an initiative that materializes a spatialized thought of history and archive that is modeled as choreographic thought. Situated clearly in the theoretical frame of the “new performative turn” and the “choreography as expanded practice”, the dissertation starts from the problematization of Western modern uses of the notions of choreography, archive and chronography, proposing the revision of several epistemological turns and expansions that managed to ‘ungovern’ those notions. Namely, turns and expansions in the field of curating, archiving, and writing. Affirming the ‘exhibition as research’ and the ‘curation as collaboration’, the research is crossed by topographical metaphors focused on the physical and methodological reconfigurations of the project. Taking this into account, the experience of the Timeline is approached along two axes: the first one related to the several ‘constellations’ materialized in a visual device that activates a chrono-choreo-cartographic thought; the second one focuses on the collective curatorial ecology of the project. Axes that give space, by way of a choreo-theoretical articulation, to a multiplicity of temporalities and corporalities. From here, what this dissertation proposes is a re-imagination of the archive and historiography, as tools to trace a common future. As a result, it contributes to the expansion of historiographical thought, venturing potentialities to renew the perspectives of traditional historiography, and offering perspectives for its reparation.
Descrição
Palavras-chave
Dança - Portugal - História Coreografia Arte da performance Dança - Historiografia Dança - Fundos de arquivos Museus de dança Teses de mestrado - 2023