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Katábasis: o corpo de experiências no processo criativo
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Advisor(s)
Abstract(s)
A pesquisa realizada detém-se sobre o corpo de experiências como meio de expressão artística, explorando aspetos biológicos, emocionais e criativos através de uma investigação que busca uma compreensão holística do corpo do intérprete em dança a partir de seu conhecimento empírico. Procurou-se tanto na pesquisa, como no objeto artístico, investigar um corpo que se alterna entre espaço interior e exterior, abordando conceitos como alterabilidade, relação entre matérias, solipsismo e autoconhecimento, bem como sobre o papel da memória em moldar e desconstruir padrões, numa reflexão sobre técnicas e hábitos do corpo a partir de uma abordagem coreográfica. O desenho geral deste relatório foi estruturado de forma a promover a inter-relação entre teoria e prática, encontrando-se dividido em cinco matérias. O capítulo I explora o papel do criador/intérprete como investigador, analisando a relação entre pesquisa e prática artística, e como isso valoriza o objeto artístico. No capítulo II aborda a improvisação em dança, contextualizando-a historicamente e justificando sua escolha como ferramenta coreográfica, destacando como essas tasks podem promover o autoconhecimento, superar padrões e expandir possibilidades expressivas. O capítulo III, foca-se no corpo de experiências, investigado sua dimensão biológica, social e cultural, ressaltando sua complexidade e relação com o mundo, para que no capítulo IV se debruce sobre a memória, perceção e transformação do corpo. Finalmente, no capítulo V, o processo criativo é detalhado, evidenciando como os conceitos e práticas discutidos influenciaram a criação e a escrita crítica do relatório. O objetivo final é integrar teoria e prática, desenvolvendo tasks de improvisação para contextos distintos.
ABSTRACT - The research carried out centers on the experiential body as a means of artistic expression, exploring biological, emotional and creative aspects through an investigation that seeks a holistic understanding of the dance performer's body based on empirical knowledge. Both the research and the artistic object sought to investigate a body that alternates between inner and outer space, addressing concepts such as alterability, the relationship between materials, solipsism and self-knowledge, as well as the role of memory in shaping and deconstructing patterns, in a reflection on techniques and habits of the body from a choreographic approach. The overall design of this report is structured to encourage the interrelationship between theory and practice and is divided into five sections. Chapter I explores the role of the creator/performer as a researcher, analyzing the relationship between research and artistic practice, and how this reinforces the artistic object. Chapter II addresses improvisation in dance, contextualizing it historically and justifying its choice as a choreographic tool, highlighting how these tasks can promote self-knowledge, the overcoming of patterns and the expansion of expressive possibilities. Chapter III focuses on the body of experiences, investigating its biological, social and cultural dimensions, highlighting its complexity and relationship with the world, so that Chapter IV looks at memory, perception and transformation of the body. Finally, in Chapter V, the creative process is detailed, highlighting how the concepts and practices discussed influenced the creation and critical writing of the report. The final aim is to integrate theory and practice, developing improvisation tasks for different contexts.
ABSTRACT - The research carried out centers on the experiential body as a means of artistic expression, exploring biological, emotional and creative aspects through an investigation that seeks a holistic understanding of the dance performer's body based on empirical knowledge. Both the research and the artistic object sought to investigate a body that alternates between inner and outer space, addressing concepts such as alterability, the relationship between materials, solipsism and self-knowledge, as well as the role of memory in shaping and deconstructing patterns, in a reflection on techniques and habits of the body from a choreographic approach. The overall design of this report is structured to encourage the interrelationship between theory and practice and is divided into five sections. Chapter I explores the role of the creator/performer as a researcher, analyzing the relationship between research and artistic practice, and how this reinforces the artistic object. Chapter II addresses improvisation in dance, contextualizing it historically and justifying its choice as a choreographic tool, highlighting how these tasks can promote self-knowledge, the overcoming of patterns and the expansion of expressive possibilities. Chapter III focuses on the body of experiences, investigating its biological, social and cultural dimensions, highlighting its complexity and relationship with the world, so that Chapter IV looks at memory, perception and transformation of the body. Finally, in Chapter V, the creative process is detailed, highlighting how the concepts and practices discussed influenced the creation and critical writing of the report. The final aim is to integrate theory and practice, developing improvisation tasks for different contexts.
Description
Keywords
Investigador-intérprete Corpo do intérprete Metamorfose Processo criativo Researcher-performer Improvisation Performer's body Metamorphosis Creative process
Citation
Fernandes, V.R.F. (2024). Katábasis: O corpo de experiências no processo criativo. [Dissertação de mestrado, Escola Superior de Dança]. Repositório do Instituto Politécnico de Lisboa
Publisher
Escola Superior de Dança, Instituto Politécnico de Lisboa