Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In this article I present a possible dialogue between anthropology and literature, showing how creativity and experimentation are part of both disciplines. For this I delve into how speculative fiction explores ways of imagining other worlds beyond catastrophe in a context marked by ecological devastation. In this sense, different writings, both anthropological and literary, have undertaken cosmopolitical trajectories that go through multiplying our world, accounting for the links between species that compose and shape us, in an attempt to face or sustain the end of the world that crosses us.

This text focuses its attention on the new indigenous literature of Peru (early 21st century), analyzing the works of two indigenous authors, Odi Gonzales (Quechua nation) and José Luis Ayala (Aymara nation). Authors who in their passage have opened a spectrum of not only bilingual but trilingual publications, where their indigenous languages have migrated to other countries, transforming not only national but international spaces of literature, in which they reproduce certain aesthetic values of their language and where also, they acquire a language of the metropolitan world to adopt it to their indigenous worldviews.

ABSTRACT Author's Master's thesis in Art at the University of Brasília. It discusses the creative process in performing arts that I conceived as a teacher-artist-researcher in the laboratory of narratives and theatrics in socio-education. The purpose of this article is to develop a theatrical pedagogy for young people in conflict with the law in XXX. Data were collected through content analysis of theatrical narratives of these young people and sensitive listening to their concerns. In the period between February 2019 and March 2020, the socio-educators dramatized their narratives in scenographic frames about freedom, imprisonment and generationality. From this point, a socio-educational pedagogy was built with the performing arts. The conceptual-methodological perspective encompasses dialogues between Moreno's sociodrama and Goffman's performance in the fields of study of the scene. They have in common a theory of roles specific to the research context. The problematic of the study circumscribed a transversality between sociology and theater: what are the links between the narrated scenes and the same scenes, theatricalized? Discussions of the results and their final considerations recommend aesthetic-scenic creative processes based on studies of the scene as a field open to the diversification of views: live text, scenic frames and the actor-narrator. Keywords: performing arts; socio-education; narratives; theatrics.  

Neste artigo, faço uma análise narrativa, estética e discursiva da Trilogia da Fuga, conjunto de três textos (“Buraquinhos ou o vento é inimigo do picumã”, “Mato Cheio” e “Parto Pavilhão”) do dramaturgo paulistano Jhonny Salaberg. Na Trilogia da Fuga, o autor nos conduz por histórias que trazem personagens negras como centro da cena, retratando poética e politicamente temáticas como o racismo, a violência policial, as desigualdades sociais, o encarceramento em massa, a violência de gênero, o processo sócio-histórico da escravização e suas permanências no presente, bem como as possibilidades de futuro e utopia na busca pela liberdade e mudanças efetivas. Para tanto, estabeleço diálogos entrecruzados com Leda Maria Martins (1995), Eduardo Duarte (2010), Achille Mbembe (2018) e Frantz Fanon (2020), partindo dos conceitos de memória, violência, racismo e necropolítica, percebendo como os textos dramatúrgicos supracitados articulam através da escrita e da composição de imagens tais problemáticas nos mais diferentes contextos e situações dramáticas, recontando histórias e ressignificando dessa forma as (re)existências negras no teatro brasileiro.

This work presents an Ethnographic essay on the experience of a public competition for effective professor of Afro-Brazilian dances placed at a brazilian federal university. The text describes the singularity of the event, characterised by the epistemological clash between the Afro-centred knowledge and the Eurocentric academic tradition, presenting how the examination panel, constituted by the authors of this text, forged an anti-racist posture against a structurally racist system. The present essay takes perspectives from Performance Studies and Exuneutics to describe the candidates' performances and practices in Afro-Brazilian dances, whose principles profoundly collide with academic dances based on rationalist models of systematization and diffusion. Among these principles, it was identified that the connection with ancestry is one of the basic elements of the Afro-centred perspective. The text analyses the competition explicitly as a crossroads, where the panel constructed a conduct in which the roles of ethnographers and evaluators overlapped, while listening and defining criteria was woven in real time. The article concludes that this competition constituted an exemplary situation in which academic criteria needed to be readjusted to accommodate epistemodiversity.

This study intends to analyze a clipping of the Brazilian film Bacurau (2019), in order to understand how the form and content of this film can be interpreted and related to some principles of the Brechtian epic theory. Assuming that the epic-Brechtian theater is a powerful agent for social transformations, the posture that must be adopted by the spectators of the epic theater is the distancing effect. In this way, to keep the spectator distanced and, therefore, active, it is necessary to make use of some resources, in the case of this study, we intend   understand the epic-Brechtian gesture and how this concept can be observed for the construction of distance in a cinematographic language .   Keywords: epic-Brechtian theater. Interart relations. Bacurau.

O objetivo deste artigo é relatar uma experiência de militância feminista negra por meio da poética artística. Acompanharemos a trajetória da Capulanas Cia de Arte de Negra, grupo teatral de mulheres negras periféricas da zona sul da cidade de São Paulo e o seu trabalho estético que contribui para a produção de novas epistemes. Aqui, um cruzamento de vozes apresenta perspectivas sobre o trabalho da companhia, seus processos criativos e a recepção do público com uma de suas obras. Com isso, refletimos sobre o pensamento estético de um teatro negro que abrange temas sociais e políticos.   Palavras-chave: Teatro Negro. Feminismo Negro. Artetnografia. Corpo Motriz.

Article presenting the result of applying the description of the discourse proposed by Michel Foucault to the analysis of a work on the History of Brazilian Theater, with attention to the treatment offered to blackness. The statements presented by the author exalt a freed black man, as the first Brazilian actor recognized as such, in the same way that they consider that blacks disappear from the stage after the 19th century. Starting from the same arguments, but thinking Theater beyond dramaturgy, we were able to prove the opposite, especially considering the body as a central element of theatical making, instead of the written word.

This article emerges from the desire to share the processes and procedures that resulted in the performance I am not a sewer of anyone’s semen. This movement cell is a part of the videodance Poetic terrorism: Small actions to enchant the outskirt, by the group Fragmento Urbano (Guaianases, São Paulo/SP). As a guiding thread The videodance screening took place at the XXX. As a guiding thread of this creative process, abortin and the practice of stealthing permeated the reflections, practices and creation, tied to personal experiences, as well as those of the black women in my family. Among the pretagogias of the rout are dance improvisation, logbooks and records through images and videos. As a result, it will be presented at the 13th Urban visions: International festival of dance in urban landscapes. Reports from friends and news broadcast by the media also helped to address this issue in a critical, sensitive and poetic way, in an attempt to reframe violence and trauma, in dance and possibilities for healing.

The present article tries to understand the construction of a laughable body (ridiculous) in a workshop of initiation to the theatrical comic languages. The text presents the experience of Luis and Clarice, two special students, in a class that aimed to create a laughable body through body exaggeration. It proposes a discussion of the question of error and of the corporal difference in the workshop of comedy in contact with two different corporal experiences: that of the students who did not have any physical deficiency and that of Luis and Clarice. From this experience, and based on the perspective of studies of cultural performances, the authors seek to construct the idea that the body, freed from its automatisms, faced with its differentiation power, can be impelled to the power of creation and, consequently, potency of life.