This dissertation memorial presents and analyzes the creative process 1900 – o ranger da
Liberdade, a set of performances developed by Zecas Coletivo de Teatro, in the streets of the
metropolitan region of Belém do Pará in 2019. The research aimed to highlight the
importance and multi-layered significance of scenic performances works, as a practicaltheoretical process, in interface with the studies of history and social and cultural memory,
starting with the postulates of Le Goff (2013), Nora (1993), Candau (2011),
and Assmann (2011). On language issues, we proposed a reflection on the relationship
between the theater and the performance from the “in-between” perspective found in
Bonfitto (2013) and Féral (2015); and about the specificities of performance language based
on Cohen (2013), Goldberg (2007), Glusberg (2009), Schechner (2006; 2010),
and Pavis (1996; 2017). From this universe, we approach the notion of experiencing the street
in the relationship amongst performers, passers-by, and the city, dialoguing with the
discussions about street scenic practices, proposed by Carreira (2007; 2009; 2011; 2012;
2020), Teles and Carneiro (2005). As results, we point out: a) the accomplishment of eight
street performances; b) the proposition of the instigation method and creation device,
organized during the research, beginning with the studies of Rangel (2015) and Sales (2011)
over the creative process as an Arts research methodology, Cypriano (2015) about the power
of creative processes in performance and Ribeiro ( 2019) on the concept of the place of
speech; c) memory as an inducer of street performances, as a basis for the creation of dealienating artistic works that, in a dialogue between past and present, performatively expose
issues that enhance respect for differences.
|
