Cartografia transatlântica: mapeamento reflexivo de encontros e afetos em um percurso autoral com a dança entre Brasil e Alemanha

Abstract

This dissertation consists of the critical organization of a succession of encounters and affections from artistic experiences that comprise an authorial journey of a dancer, choreographer and director, from the moment when an artistic training begins – the experience as a collaborative interpreter in some companies of dance, in Brazil and Germany – until the moment when creation begins to be characterized by intense partnerships and dialogues with artists from other fields of art, within the scope of artistic-pedagogical relations. Its objective is to map processes and contexts in a way to produce and live art, seeking to develop a prospective and retroactive critical look at the experience, sharing it and bringing reflections on history and dance practice as a networked and porous system. This research raises the following question: Can a critical diary of experiences that maps the trajectory of a dance artist generate new perspectives and artistic-pedagogical contributions to this field of knowledge? The intention of this study is due to the notorious lack of bibliographic material that reveals the personal trajectories of active dance artists, seeking to share creative and teaching/ learning processes. The main theoretical supports of this research are Deleuze e Guattari (1980) to understand desire as a potentiator of new given meanings to the becoming of experience, Rolnik (1989) to think about cartographic writing and Salles (2006) to look at artistic work as an unfinished and networked system. As this research presents multiple research focuses, it uses cartography as a methodology and other methodological procedures, such as autobiography and practice as research. It aims to build a reflective Artist Diary that seeks to create possibilities for rethinking and sharing ways of doing dance so that this investigation will offer clues for updates on the trajectory in question, as well as intending to provoke other artists to write about their experiences with creation, enriching and expanding bibliographical material in the field of Brazilian authorial dance.