O incômodo de ser inacabado na contemporaneidade: diálogos e tensões entre existência, tragicidade e teatralização

• Ano de defesa: 2017
• Autor(a) principal: Moura, Michelle Thieme de Carvalho
• Orientador(a): Ewald, Ariane Patrícia
• Banca de defesa: Souza, Thana Mara de , Ferreira, João Batista de Oliveira , Sinder, Valter , Lima, Fernanda Lemos de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Rio de Janeiro
• Programa de Pós-Graduação: Programa de Pós-Graduação em Psicologia Social
• Departamento: Centro de Educação e Humanidades::Instituto de Psicologia
• País: BR
• Palavras-chave em Português: Inacabamento; Incômodo existencial; Teatralização; Tragicidade; Arte teatral; Psicologia Social; Contemporaneidade; Teatro; Sartre
• Palavras-chave em Inglês: Incompleteness; Existential discomfort; Teatralization; Tragicity; Contemporaneity; Theatrical art
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::PSICOLOGIA::PSICOLOGIA SOCIAL
• Link de acesso: http://www.bdtd.uerj.br/handle/1/15212

The central proposition of this thesis is to discuss how we have dealt with our own incompleteness in contemporaneity. By adopting the Sartre's perspective of subjectivity, man here is thought to be devoid of any essence that gives him a finish, being condemned to represent himself and to dramatize in life. Theatricality, therefore, is understood here as an inseparable condition of human existence. This condition is responsible for conferring upon man the uncomfortably perpetual renewal obligation of always being re-established in a tragic tension with the world. The issues raised by this central axis were organized in this thesis into three chapters. The first of them seeks to discuss how the tensions and conflicts inherent in our incompleteness - and our theatricality - can be articulated with a "tragic dimension" of existence, using the Sartrian notions of anguish and self-representation as the guiding thread. This discussion is deepened through a dialogue with the cinema of Brazilian documentarist Eduardo Coutinho, more specifically with two films of his: Jogo de Cena and Moscou. The second chapter seeks to understand how the particularities of our contemporary way of life are related to the exacerbation of the search for a finish in the present day. In this context, a much-used current form of intensification of this search seems to occur through the "ideal of completeness". There are discussed two phenomena that help to reveal the effects of this ideal on contemporary forms of psychic suffering: first, the relation between man and work, and then his relationship with online social networks. At the end of the second chapter, the thesis sets forth how a tragic-phobic logic is at the service of some practices and "psi" phenomena that help to strengthen the current ideal of completeness. As a counterpoint to this way of looking at incompleteness in everyday contemporary living, the theatricality placed on the scene in art, discussed throughout the third chapter, is thought of as a place where the unfinished and its tragic facet can be experienced as a potent human dimension. To do this, we first sought to discuss the structure of theatrical art in its broadest sense, then a more specific analysis was made of the actor's craft, and finally, through a dialogue with the process of creating the play Nomadic, it came to a discussion on the poetics of typical destabilization of the "contemporary theater". It has been found that while in daily life - especially in the contemporary - we tend to ignore the theatricality that constitutes us as free and unfinished beings, in theatrical art, in turn, our theatricality is all the time reaffirmed. It is possible to affirm, therefore, that the tragicity of our unfinished human dimension, when placed on the scene by theatrical art, is able to sustain, to varying degrees, conditions of privileged possibilities so that the subject manages to transform the discomfort that imprisons him - and produces sufferings - in a discomfort that deconstructs and amplifies ways of existing. This possibility, in the current scenario, besides being liberating, is extremely transgressive