Parla: diálogos corporais movidos por sensações fluentes em improvisação

Abstract

The present research aims to investigate, perceptually and sensibly, the sensations, feelings and emotions (DAMÁSIO, 2011; LABAN, 1978; LEAL, 2012) as potent means for the creation in dance considering the historical, cultural and personal process of the individual. Therefore, the participatory research, (BORGES; BRANDÃO, 2007) has laboratory investigations carried out in a group with participation of five artists called conversational, searching for body dialogues based on sensitivity that trigger in dramaturgical constructions involved by memories, affections and perceptions. The daily writing (OLIVEIRA, 2015) appears as a record of experiences connected to the intimate, personal, affective, that presents itself informally, intrinsically, linked to a writing that may be closer to the dance. Being the laboratory that propels the research we take as reference the affection of Antonin Artaud (CAETANO, 2012; QUILICI, 2002, 2012) with his transforming power amidst relationships and chance (OSTROWER, 2013; SALLES, 2008) as a creative possibility capable of awakening the unprecedented. The meditative practice as focus and concentration dance improvisation considered as techniques from the concepts of Mara Guerrero (2008) and Patrícia Leal (2012a), providing freedom to the exploration of movements, finding significant characteristics such as fluency supported in the studies of fluency of Rudolf Laban (1978) by Ciane Fernandes (2001, 2006, 2007), Lenira Rengel (2001) and Patrícia Leal (2012a) associated with the Liquidity of Zygmunt Bauman (2001) fluids. Searching for the importance of a dance that part of itself without denying or separating one's own feelings contributes to the construction of an art that expresses the human, investigating the destructuring of crystallized paradigms of thinking the dance existing even today.