Caminho Emocionado: "Donna" entre afetos, cena e rasaboxes

Abstract

This dissertation investigates the possibilities of accessing, mapping, and consciously mobilizing emotions in theatrical practice, through the articulation between the rasaboxes methodology, proposed by Richard Schechner, and clowning as a subversive and poetic artistic language. The main object of the research is the play Donna, conceived and performed by the author, which addresses experiences of violence, silencing, and resistance lived throughout her personal and artistic journey. The methodology employed combines physical practices, self-reflective records, analysis of process memories, and experiments with the rasas board. The work seeks to understand how emotions, understood as social and cultural constructions manifested through the body, can be named, organized, and expressed on stage without losing their affective and communicative power. The study is grounded in references such as David Le Breton, Julia Sarmento, Michele Minnick, Ana Achcar, and Antonio Damasio, building a reflection situated between theory and practice. As a result, the research produced the dramaturgical text DONNA, de casa, symbolically structured as a house in which each room represents one of the rasaboxes emotions. This text, understood as an integral part of the investigative journey, is a mixture of essay, autobiography, and poetic dramaturgy. In conclusion, the study comprehends the articulation between clowning and rasaboxes as a powerful strategy for listening to and processing emotions on stage, allowing the construction of a conscious, sensitive, and politically situated stage presence.