Corpos e espaço de performance: abordagens estético-filosóficas para as relações entre corpos humanos e não-humanos em videoperformance

• Ano de defesa: 2020
• Autor(a) principal: Luciano Soares Mariz
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais
• Palavras-chave em Português: Performance (Arte); Videoarte; Arte e tecnologia; Multimídia na arte; Arte e filosofia; Criação (Literária, artística, etc.); Poéticas do vídeo; Videoperformance; Agenciamentos; Corpo sem Órgãos; Poéticas Tecnológicas
• Link de acesso: https://hdl.handle.net/1843/37365

This research presents aesthetic-philosophical explorations through an inventory of experiences and impressions about the possible relationships between human and non-human bodies, their modes of development in the performance space, during the process of performing in videoperformance. As a methodological strategy, two explorations are described: “Relações Intercorporais” (2018) and “Caixa preta” (2019) as a field of experimentation. These are interpolated from a theoretical overview based on the existence of a relational autonomy of bodies, where the directions do not happen only in a unilateral sense but through stimuli, feedback and creative impulses open to the multiplicities. By the way, the research presents a reflexion about agencies existing in the relations of play between the performer's body and the technical body (in this case, the camera), between these relations, a treatise is proposed that projects a break in the structure of the bodies and conditions the agents to an exploration of their potentialities. The potentials arise through processes of self-organization, where infinite possibilities of deterritorialization and reterritorialization happens with the bodies in the performance action. Through these processes of reterritorialization of bodies and a possibility of approaching them in performance situations, it finds the perspective of a method for creating a Body without Organs (BwO), punctuated by Artaud and developed by Deleuze and Guatarri, in the views of the provocation of a performance space where the bodies find places of suspension and present a body in action, free from the dictatorship of obviousness and materiality.