The thesis is constructed on encounters - and, triggered by them, on the compositions of vibrant
bodies - between performance art, understood at first as a field and then as a set of forces;
writing, taken as a set of forces opposed to compositions that privilege normative
appropriateness as principles; education, understood in its specificity of being a practice, that
is, a whole wherein the poetical and the political, thinking, doing and feeling can not be
distinguished; and the practice of arts-based-research, whenre (sic) these intersections would
become events. One practice is the machining field of the things of wich the thesis is
an emerging form: the researcher-teacher-artist's processes of formation and un-formation as a
teacher in charge of "teach" performance art in the context of an undergraduate course offered
by a brazilian public university; Having as primary materials, narratives, quotations,
descriptions, real and fictional characters, conversations on facebook and using procedures such
as juxtapositions, floating attention dedicated to affections, content analysis, non-creative
writing and deviations guided by attentive desire, the text could provide to the reader reading
experiences with the practices it is.
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