This course conclusion work deals with an approach to the conditioning of bodily
repertoires, specifically about the path in acquiring bodily information within
phenomenological perspectives in the classroom, based on numerous conceptual studies
of 'being-in-the-world' in an artistic sphere of experiments and insertion into the
professional world; of different personal and social realities and, mainly, of values and
conceptions of life. This research therefore provides general and specific objectives
regarding the management of artists with their dancing bodies through methodological
and strategic experiences with: 1) theoretical studies and their concepts regarding the
science of human motricity and bodily behaviors; 2) behavioral investigations of artistic
subjects and how they manage these movements in their languages of identification; 3)
methodological-experiential development for the work of enhancing these bodily
memories. To this end, this research will be divided into topics and will discuss the
processes of conditioned permission for a versatile body field and proprioception, as well
as crossings captured during dynamics, suggested didactic proposals and conducting
interviews to study sensations and discoveries acquired during the process, made by me,
Maria Eduarda, inside the Dance Studio by Lucinha Azeredo, a space coordinated by the
directors and owners Maria Lúcia Ribeiro de Azeredo and Thiago Mendes Parente,
together with the academic collaboration of Profa. Dr. Bene Martins — FADAN, whose
plan of applied proposals focused on teaching practice in non-formal education
institutions, based on the knowledge gained during the Dance Degree course.
In this sense, this study dialogues with the following authors: Nóbrega (2008),
which covers aspects of the body, perception and knowledge based on Merleau-Ponty;
Merleau-Ponty (1945) itself and also presenting approaches to the phenomenology of
perception; Resende and Silva (2019) regarding organizational principles of movement
in contemporary dance; Ferreira (2010) as guides regarding the body in its entirety within
Ponty's reflective parameters and among other references. In this way, an (in)conclusion
is analyzed in the investigative scope of these corporeal and future versatile experiments,
prepared and applied by me, undergraduate Maria Eduarda Oliveira, together with the
classes selected to strengthen this preliminary research. Such as overflows acquired
throughout the observation-practice in the field and, equally, as a fundamental part of the
research in order to facilitate possibilities and present the relevance of this open body,
available and full of repertoires that facilitate a diverse artistic practice.
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