Sensorialidades antropofágicas na criação em dança: quando o processo subverte os modos de compor

Abstract

Foreign, distorted, disfigured, disjointed bodies. What to do when a logic of sensation imposes and subverts bodies, processes of creation in dance and choreographic strategies? By bringing out from the sensations textures of movement, taken from previous themes, ideas, techniques and scripts, the choreographer Juliana Moraes had her procedures challenged in the elaboration of the choreographic series Peças curtas para desesquecer (Companhia Perdida), from body mobilizations by materials inspired in Lygia Clark’s relational objects. In the 1960s, the plastic artist incorporated and absorbed the work in the body and established an anthropophagic way of creation. Would they be anthropophagic sensorialities? A way of creating permeated with the principles of indigenous cosmogonies, the knowledge of/in the body, of a performativity? In a cauldron, artists, shamans and thinkers boil, from Gilles Deleuze, José Gil, Steve Paxton, Hubert Godard and Antonin Artaud to Oswald de Andrade and Viveiros de Castro, among others.