Camelos também Dançam: Movimento corporal e processos de subjetivação contemporâneos: um olhar através da dança

• Autor(a) principal: Silva, Jardel Sander da
• Data de Publicação: 2006
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/15539
• topic: Experimentações corporais; Corpo-imagem; Corpo humano; Subjetividade; Danca moderna; Cultura; Body s experimentation; Image-body; CNPQ::CIENCIAS HUMANAS::PSICOLOGIA

This work looks for to supply a perspective about the body and its relations to the process of subjectivity and culture. From the definition of the body as a device, it is possible to visualize its historical inscriptions and its possibilities to resist. Beyond the contemporary understanding of the body, this research seeks to understand its deeper potentiality and effects. Thus, some ways of existence, which are referred to distinct periods of occidental history, are discussed in this work. The focus searches the body s experimentations, and its strength to create, by drawing a path that shows to us its potentiality and its losses. It also searches for the body s captures and lines of escape, reaching the corporality of the 1980-90 generation. For this generation, the body s experimentation seamed to be reduced, during an increasing omnipresence of an image-body. This research tries to give a perspective about the contemporaneity, without denying the perception of certain emptiness that affected the public life (our desert). It is still pointing out to possibilities of a present s affirmation (and its political dimension) that takes place through the body s experimentations. And, even if it recognizes the contemporary image-body, with all its spectacularly, it focuses on the multiplicity in which the body opens up, by some expression qualities and, particularly, though movement, especially the contemporary dance. From the every-days life body to those lines of escape, there is an important passage, in which many characters, which compose the desert, introduce themselves as attempts of their model image. By these characters, the show of contemporary life is build, in its way of living, its inheritance, its comfort and its unsatisfactoriness. Finally, there is the desertion, played by a specific character: the Deserter. He is the one who guides us through the dance territory, within his pain, his muteness and his stammering, and it is inside of it that we are presented to the procedures of desertion and affirmation. The dance is as a field of possibilities to a body that, beyond its evidence, can find itself a devenir: corporar