Erre como figurinista

Abstract

This research was initially mobilized by the questioning of thenotion of costume, mainly in the context of contemporaryperforming arts. In this sense, it also questioned the practice ofthe costume designer, seeking to break with normativehegemonic standards present in the professional context.Therefore, a bibliographic review was carried out, enlarging thecomprehension of the work of a costume designer based onthe concepts of performativity and dramaturgy. The artisticpractice methodologically structured the investigation, whichsews a theoretical and analytical reference to theautobiographical experiences in the trajectory as an artist. Theessayistic structure of the text allowed variations in the ways ofwriting, relating concepts to images, textures and memories forthe composition of this artist's book, which presents the fourperformances conceived in the Master in Dance: “Study forred” (2019); “Pepper grinding machine” (2019); “Variation forred” (2020); and “Who needs a costume designer?” (2020).The performances materialize the creation of images of thebody on stage as an expanded field, in which theunderstanding of the costumes tensions boundaries betweeninside/outside, body/object, space/time, demonstratingpossibilities of happening in a provisional and transitory zone.It is concluded that, from this perspective, it would be up to thecostume designer to take another position in the creativeprocess, closer to the work of a dramaturgist in the sense ofcollaborating with the flow of images on the scene - which arenot restricted to visualities.