The research points to a path of artistic experimentation, unveiled in the very first my space contact with the dance: the "house of contact," object investigation of this research that establishes connections multiple and heterogeneous of performer-creator with life stories, which are raw material smain articulate for the recognition of principles and recurrences of a drama specific particular and local, the "dramaturgy of contact." to buy the basics of such a proposition, I use theoretical and methodological rhizome of Deleuze and Guattari (1995), in their percepts and affects (1992), brokered by the triad image-time-motion of Deleuze (1992), as a strategy of theoretical and practical cut across writing. Based on the notion of body subject of Merleau-Ponty (1999) and the dramaturgy of Eugenio Barba (2010) in fabric with the phenomenology of perception and contact-improvisation were the demonstrators elements that support the principles of dramaturgy Contact aroused by the life stories of those who practice, responding to the main objective of this Research Essay. We used the following methods of data collection: survey bibliographic documents that permeated the nature of the subject studied here and their interfaces with different areas knowledge, participant observation, interviews open and collecting individual and collective sense through letters, photographs, videos, songs, drawingsand relational objects that allowed reflection and analysis constructed by mapping a timeline of the School Ribalta dance, the dance company Ribalta and triad Marlene-Beth-Mayrla, lives that exist in the House Ribalta and give any sense of this writing. Aspects conclusive resulting from this research are involved directly with the degree of impairment o frese archer with the poetry of a life project, "The Home Contact and Dramaturgy of Contact ", marks singular trans-formations of paths in a plural human diversity.
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