Lecture-Performances

​

In 2016 a specific investigation was developed within Performa, associated with Lecture-Performances. The focus here was that of exploring a sort of quicksand dimension which encompasses constant sliding movements between two extremes: a descriptive objectivity and the pursuance of materialities that involve the search for the impalpable, the invisible and the unsayable.

​

This path started at a Space located in São Paulo called Espaço Sergipe, created by Lucia Navarro and Cassiano Quilici, where a event was produced in order to investigate lecture-performances. Later this investigation was unfolded thanks to the participation of three events. The first one took place at EBA – Federal University of Minas Gerais in Brazil: Seminário CRIA 2016 (Criação e pesquisa em Artes da Cena na contemporaneidade), intitulado “Corpo e Cena: para Além da Técnica” (Body and Scene: going beyond technique). In this case, I could deepen in a more consistent way – my focus here was that of examining The tensions between Epistemologies and Gnoseologies in the field of  Performing Arts.  In this event a performative structure intertwined theoretical aspects related to epistemology/gnoseology and creative processes produced by Performa Collective.

​

This process was further developed in two International Conferences: the first one was the IFTR Conference -  International Federation for Theatre Research, which took place in Stockholm, in Sweden. On this occasion I presented my first lecture-performance called “Beyond Affective Memory: The Importance of Spirituality in Eastern Acting”.

​

Amongst the aspects examined in Sweden, a deep connection between experience and tacit knowledge in relation to Eastern Acting was acknowledged on many levels.

​

Later I presented another lecture-performance, this time at PSi Conference – Performance Studies International, occurred in Melbourne, Australia. It was called “The Performer as a Practical Philosopher. Mariana’s Case: a Search for an Ethical Turn”.

​

The perception of the performer as a practical philosopher strengthen the connection between art an life, between ethos and action. In this respect it is interesting to see at what level performance can enhance life’s horizon, mainly through events that cause a sort of trauma or social rupture. Following this path a specific event – the ecological disaster occurred in Mariana, Brazil – can be seen as a sort of case study that can contribute to deepen my reflection. A question can be raised here: how can the performer, seen as a practical philosopher, produce an action in order to make this event enhance its impact? How can the performer-philosopher intervene in this case in order to capture the singularity of this event?

​