Cartografios de uma narratriz: performances entre contação de histórias, teatro e educação
This dissertation mapped performances as experiences of creation by a narractress, gathering for its composition the discussion about the narrative body, the performance art, and the narrative performance (storytelling). Understanding my body-word as the first space-time of the act of perfor...
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| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/jspui/handle/123456789/29498 |
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| Resumo: | This dissertation mapped
performances as experiences of
creation by a narractress, gathering for
its composition the discussion about
the narrative body, the performance
art, and the narrative performance
(storytelling). Understanding my
body-word as the first space-time of
the act of performance, and going
through the concepts of artist/teacher
formulated by Isabel Marques (2011;
2014) and professor-performer by
Naira Ciotti (2014), I understood the
hybrid narractress as a singularity
of an artist/educator who can
mobilize some issues by inventing
liminal spaces among performance,
storytelling, theater, and education.
The investigation happened through
the experience of art provoked
performances by the questions
that the universe of oral narration
brought to my existence, sewed to
the memories of my personal path as
a storyteller, and to the researches
made by Brazilian storytellers Aline
Cântia Miguel (2017), Ângela Café
(2015), Gislayne Avelar Matos (2014;
2015), Regina Machado (2004;2015) on oral narration in the contemporary
world, as also by the Argentinian Ana
Padovani (2014). It was through those
weavings that a unique production of
the narractress emerged, imbricating
the artistic works of performance
art with the narrative performance
in the same event, which also
included the relationship between
performance and education as
a trigger for a theater pedagogy
process, in the text contextualized to
the voices of Gilberto Icle (2017), and
Mônica Bonatto (2017). In addition,
I developed discussions about
body and performance, dialoguing
with theorists as Eleonora Fabião
(2008), Luciana Hartmann (2015),
Paul Zumthor (2014), and Suely
Rolnik (2016), connecting to the
feminist agenda and highlighting
the importance of the production of/
by women, that reverberates in the
language produced by the body, and
in the words chosen to be told, which
is compatible to what Clarissa Pinkola
Estés (1998; 2018), and Márcia Tiburi
(2019) say. The concept of experience
from Jorge Larrosa (2014; 2018) is also present in the text, seen from a
woman artist/educator/researcher’s
perspective, who creates paths and
elaborates ref lections on how all this
weaving can generate an authorial and
contemporary theatrical pedagogy at
school. |
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