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Um theasthai : a experiência de um grupo de pessoas cegas na plateia do teatro
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Esta tese toma como objeto a tradução da experiência de um grupo de pessoas cegas na plateia de dois teatros de Lisboa entre dezembro de 2019 e fevereiro de 2022.
Na Primeira Parte, o documento apresenta as linhas filosóficas e psicossociais que abordaram a cegueira e delineiam “Os mundos da cegueira” onde a experiência da pessoa cega se desenvolve. A análise da cegueira desde uma perspetiva normovisual e não normativa, revela uma condição existencial de liminaridade entre dois mundos, condicionados pelo poder do ato de ver, que é similar à vivência estética. Com o modelo social da deficiência, a cegueira é apresentada como uma diferença existencial em condição de equidade com outras diferenças. Para uma equidade também no teatro, propõe-se identificar a pessoa cega com o neologismo “normocego”.
A Segunda Parte, “Os mundos do teatro”, apresenta características de acontecimentos teatrais nos quais o “normocego” pode participar em comunidade. A experiência do público “normocego” narrada em primeira pessoa, é analisada com os estudos de receção liderados por Erika Fischer-Lichte, a relação cena-público sob abordagem dos afetos realizados por Ana Pais e com a abordagens filosóficas do teatro produtor de invisibilidades. O neologismo “hapsorvedor” é apresentado para traduzir a ação do público “normocego” que está num teatro como num templo de fazer previsões, ao reter e sustentar uma paisagem como num theasthai.
A Terceira Parte apresenta três diários do trabalho de campo: num espetáculo, num encontro entre artistas com e sem deficiência promovido pela investigação e da vivência em espaços de cultura analisada pelo grupo de pesquisa. Como três “ruínas” do trabalho de campo que, em conjunto, são úteis “para um mundo imaginado com a diferença”, a Terceira Parte atende um dos objetivos traçados por esta investigação e oferece recursos práticos à gestão e à criação teatral que queiram assumir um compromisso social com a diferença.
This thesis analyses the experience of a group of blind people as public in two theatres in Lisbon between December 2019 and February 2022. In the First Part, the document presents the philosophical and psychosocial lines that addressed blindness and translates “The worlds of blindness” where the blind’s experience develops. The analysis of blindness from a normovisual and non-normative perspective reveals an existential condition of liminality between two worlds, conditioned by the act of seeing as a power, that presents a similarity to the aesthetic experience. With the social model of disability, blindness is presented as an existential difference, an equanimous condition with other differences. For this equity in theater, it is proposed a new identity for the blind person with the neologism “normoblind”. The Second Part, “The worlds of theater”, presents the theatrical events in which the “normoblind” can participate as part of a community. The experience narrated by the “normoblind” is analysed with reception studies led by Erika Fischer-Lichte, the scene-audience relationship under the approach of affections carried out by Ana Pais and with the philosophical approaches of theater as a place of invisibilities. The neologism “hapsorber” is presented to translate the action of the “normoblind” audience in a theater as a temple of making predictions, by retaining and sustaining a landscape as it would be a theasthai. The Third Part presents three fieldwork diaries in a play, in a meeting between artists with and without disabilities promoted by the investigation and the experience in cultural spaces analysed by the research group. As three “ruins” of fieldwork that, together, are useful “for a world imagined with difference”, the Third Part meets one of the objectives outlined by this investigation and offers practical resources for the management and theater creation that want to be committed to difference.
This thesis analyses the experience of a group of blind people as public in two theatres in Lisbon between December 2019 and February 2022. In the First Part, the document presents the philosophical and psychosocial lines that addressed blindness and translates “The worlds of blindness” where the blind’s experience develops. The analysis of blindness from a normovisual and non-normative perspective reveals an existential condition of liminality between two worlds, conditioned by the act of seeing as a power, that presents a similarity to the aesthetic experience. With the social model of disability, blindness is presented as an existential difference, an equanimous condition with other differences. For this equity in theater, it is proposed a new identity for the blind person with the neologism “normoblind”. The Second Part, “The worlds of theater”, presents the theatrical events in which the “normoblind” can participate as part of a community. The experience narrated by the “normoblind” is analysed with reception studies led by Erika Fischer-Lichte, the scene-audience relationship under the approach of affections carried out by Ana Pais and with the philosophical approaches of theater as a place of invisibilities. The neologism “hapsorber” is presented to translate the action of the “normoblind” audience in a theater as a temple of making predictions, by retaining and sustaining a landscape as it would be a theasthai. The Third Part presents three fieldwork diaries in a play, in a meeting between artists with and without disabilities promoted by the investigation and the experience in cultural spaces analysed by the research group. As three “ruins” of fieldwork that, together, are useful “for a world imagined with difference”, the Third Part meets one of the objectives outlined by this investigation and offers practical resources for the management and theater creation that want to be committed to difference.