O risco de respirar: os rastros da ansiedade e a improvisação em dança no entremeio do caótico

Abstract

In this dissertation, I investigate the features of the body in chaos as a tool for experimentation and creation of the scene, thus, investigating the movements of a body in a situation of anxiety crisis. The hypothesis that guided this work assumes that dancing the body state in chaos, looking at the crisis, promotes a territory for investigation and creation in dance improvisation. In this way, I investigated the symptoms that appear in my body during the anxious changes, trying to find their consequences and what movements I can compose in improvisation. So, this was a practical research of experience and creation, which presented as an object of study my collapsing body, using chaos as a device for dancing. My objective was to experience anxiety in movement laboratories and, with this, compose an improvisation entitled “Respire”, understanding, during the process, that chaos is a power that enables new movements in the face of the marks I carry on my body. In this work, I did not look at chaos and crisis from the perspective of healing or art therapy. Here, chaos and crisis trigger my relationship with the world, and dancing it is the movement I make to survive. From a certain idea of an idealized body, very socially imposed, in which reason is accepted and feelings are traits of weakness, studying the strength of chaos and crisis is a position, especially in the face of a viral pandemic like the one we are experiencing in time of completion of this study. Thus, this work defends a research perspective that speaks of the narratives themselves, and legitimate the knowledge that appears in the body, reaffirming the place of art as a science, and more specifically, of my narrative as a northeastern artist. For this study to happen, I relied on the somatic-performative methodology, by researcher Ciane Fernandes, who defends research that answers her questions by moving, and that takes all her production and writing as a performance. Thus, this dissertation was divided into three chapters: the first presents the result of the bibliographic survey based on the work of authors who talk about body, body state, survival, anxiety symptoms, the notion of feeling and the different perspectives of chaos, in addition to ideas on dance improvisation, research and practice. In chapter two, there is a description of the movement laboratories, which took place from 2018 to the first half of 2021, relating symptoms to movement. Finally, I conclude by approaching the process of creating “Respire”, a practice that includes improvisation and the experiences described in chapter two and discussed based on the concepts indicated in the first chapter. In transitory considerations, I highlight the importance of looking at experience as a scientific investigation and the role of art in understanding reality, as well as the relevance of improvisation in dance as a dance that poses the risk of self-knowledge. Furthermore, after being willing to embrace the chaotic, it was noticeable to imagine an unfolding of this research by observing other bodies. I suppose the experimentation of chaos is legible both for the creation of group shows, and for a clinical path, in research in the health area.