Corpos do afeto: ensaio sobre dança, estesiologia e educação

• Ano de defesa: 2017
• Autor(a) principal: Ramos, Thays Anyelle Macêdo da Silva
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Brasil; UFRN; PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO
• Palavras-chave em Português: Corpo; Afeto; Dança; Lecuona; Educação estesiologica; CNPQ::CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: https://repositorio.ufrn.br/jspui/handle/123456789/23350

In the thesis, we do not think of affection as a classification of positive and fraternal emotions. However, we clothe the affection of a phenomenological understanding, the possibility of a body that by its affective capacity opens itself to another to interrogate its own existence, creating and recreating culture, broadening the process of knowing, feeling, thinking, acting, being, becoming. In this context, the present thesis affirms the body and its possibility of affection in Lecuona, choreographic work of the Dance Company Grupo Corpo, as a esthesiological education. The objectives of the research run between throwing a phenomenological look at the love plots danced in Lecuona; to establish connections between philosophical and artistic expressions. The first one in search of an understanding of the body, of the estesia and the affection and the second, by means of the research involvement in the poetics of the dance. Connection that facilitates the reflection on a esthesiological education. The methodological approach of this research is Maurice Merleau-Ponty's phenomenological attitude. In this respect, we emphasize a phenomenological reduction to interrogate a lived experience in search of new meanings and meanings related to the body and its possibility of affection in this research. As a reference to describe the scenes of Lecuona, we made use of the script for appreciation of choreographic works ―A dança como carta do visísivel do corpo e do movimento humano‖. The criteria of the scenes chosen for description were based on meaning, on what makes us think about the body's esthetics, the poetics of the movement, the aesthetic flows, and the relationship of dance with existence and with education and art, according to Guides the script in question for appreciation of choreographic works. We made use of the video of the dance, of the images, interviews with the choreographer and with the dancers. The thesis in question is divided into four chapters. In the first, we construct a thought about affection, whose main references are: Maurice Merleau-Ponty, with his ontology, his notions of sensitiveness and the body of the estesia. Also we are Michel Maffesoli and his call to an "ordo amoris" by Max Sheler, who sought the unreflective of this notion as an order to affections. In the second chapter, we called Georges Didi-Huberman to draw an aesthetic dimension that is found in the image of the "fireflies" and, thus, to think of dance and its aesthetic flows as the affective and interrogative capacity of existence. Thus, we reflect its potency for a state of performance (dancer-spectator) as the creation of affective fields. Within these assumptions, we think about the poetics of Grupo Corpo in this scene of Brazilian dance. In the third, we look at the danced gestures of the dancers of Lecuona, we describe their amorous plots full of affection and knowledge. Finally, in the fourth chapter, through the affective thinking built up in the three previous chapters, we reflect on a esthesiological education that is configured in the body and by affection. An education that goes beyond instruction and technique, an education that emerges from the sensations that it sees in the body and its possibilities of affection, a space of meaningful learning, involved by an aesthetic dimension of existing, articulating, creating and recreating meanings in the diverse relations of existence. In this understanding, Lecuona reverberates the educational potential of this research by burning us with his love: by making us experience the sensations of dance and engaging in his senses, operating in us fields of reflection on our own existence.