Caminhos criativos para o processo de montagem do espetáculo m(eu) infinito: partitura corporal e mímesis corpórea

Abstract

This research explores the process of putting together the show M(eu) Infinito, from its appearance in 2016, when the researcher was a graduate student in Performing Arts at UFG and a Theater instructor at SESC, until the following years. The initial focus was on the body score based on the writings of François Delsarte and the drum exercise, learned in the “Ser so energetic” workshop taught by Thardelly Lima, to build the first version of the show. For the 2018 and 2021 versions of the play, the cast and provocateur also focused on the procedures of corporeal mimesis, originating from the Lume group (UNICAMP), in the use of printed images as poetic and creative references in the body investigation of the actors. This research is then called corporal partition and corporal mimesis of creative paths, as it was during the investigation of both that the original cast laid the foundation for the solos that make up the whole of the show. Dramaturgy also played an important role, allowing actors to create an authorial text based on their own experiences. The creation of this dramaturgy took place in self-writing through the practice of writing in the stream of consciousness, opening the discussion and reflection on whether these writings are autobiographical or autofiction, but without the intention of locking them within a single defining nomenclature. Another important discussion discussed is the structures that constitute and dictate a dramaturgy, and how I perceive the text of M(eu) Infinito in light of these constituent elements of the drama. However, the central focus of this dissertation is to understand the gaps that emerged during the creation and structuring of the show, and the impact of the corporal score and corporeal mimesis on the work and development of the dance of the performers' self. This qualitative approach, in addition to bibliographical research, is made up of experience reports and logbooks of the provocateur and author of the research, as well as material provided by participants in the 2018 and 2021 processes.