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REDIAL Red Europea de Información y Documentación sobre América Latina
CEISAL Consejo Europeo de Investigaciones Sociales de América Latina
Referencia anterior

Feito nas Coxas: The concept of Performance and Performativity explained through relations between body and space

Referencia siguiente
Artículo de revistaLima, Roberta. Feito nas Coxas: The concept of Performance and Performativity explained through relations between body and space.  / Feito nas coxas: El concepto de Performance y Performatividad explicado a través de las relaciones entre el cuerpo y el espacio In  Handlungsmacht, Ausdruck, Affekt: Zum Bedeutungswandel affektiver Aussageformen in Lateinamerika  / Agenciamiento, Expresión, Afecto: La resignificación de enunciados afectivos en Latinoamérica Atención! Jahrbuch des Österreichischen Lateinamerika-Instituts, 2013 vol. 16 p. 169-180. Palabras claves:
América Latina
Cultura | Filosofía

Resumen:

Feito nas Coxas is a description of how my migratory path – from Brazil to Europe, from architecture into arts, from praxis into theory, from pop and sub-culture into historical references – has strongly influenced me in developing a dynamic and interdisciplinary method of work. After engaging in a series of performances in which the main subject was the body, I started to look into the performative and its many elements as means to investigate the relationship between body and space. For that, I elaborated on the idea of performance as relational: people (performer, piercer, camera crew, audience, etc.), objects (needles, ribbons, trapeze, suspension structures, cameras, etc.) and the way they were positioned in a room and in relation to one another is what configures the space. In this text, I also point out the rel- evance of the media as co-performer and as tool for investigating the political and social contexts in which artworks were and are performed. Following that, I focus on two works Into Pieces (2008) and Please Help Yourself (2008) to demonstrate the concepts of performance and performativity not only in theory, but also through practical examples in Brazilian arts, architecture, history, everyday life, and col- loquial language. In conclusion, I aim to take a step further into questioning the classical ways of performance production and representation.

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