MACUMBA: UMA GIRA SOBRE PODER O TEATRO RITUAL NA CENA E A CENA NO RITUAL
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Data
2025-04-23
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PPGARTES
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Universidade Estadual do Paraná
Resumo
This research aims to reflect on the relationship between theater and ritual, investigating how this connection can serve as a catalyst for the arts. The central question guiding the study is: How can the ritual contribute to the creative process, working as a methodological strategy in scenic creation? This inquiry fosters a critical reflection on the modes of organization in constructing the black performative discourse within the artistic research, employing many theoretical and practical references to understand this complex interaction. At the gist of this investigation, the performance Macumba: uma gira sobre poder, by Companhia Transitória de Curitiba, with staging, direction, and text by Onisajé (Fernanda Júlia Barbosa), emerges as a central experience that redefined the author's artistic trajectory and became the object of analysis and artistic memorial in this work. This act provided an encounter with ancestry and artistic creation, leading to a deeper understanding of the researcher's black identity and the “blackening” of his creative thought, reflecting the spaces of identity construction. The impact of this encounter is directly reflected in the author's academic trajectory, including his undergraduate degree in Performing Arts and his professional master's degree in Arts. The research emphasizes the ritual power of activating identities and its ability to promote blackening, integrating into theatrical practices as a rich and meaningful approach to artistic expression.
Descrição
A presente pesquisa busca refletir sobre a relação entre teatro e ritual, investigando como essa ligação pode atuar como disparador para as artes. A questão central que orienta o estudo é: de que forma o ritual pode contribuir para o processo criativo, servindo como estratégia metodológica na criação cênica? Essa indagação fomenta uma reflexão crítica sobre os modos de organização na construção do discurso performativo negro dentro da pesquisa artística, utilizando diversas referências teóricas e práticas para compreender essa interação complexa. No cerne desta investigação, o espetáculo Macumba: uma gira sobre poder, da Companhia Transitória de Curitiba, com encenação, direção e texto de Onisajé (Fernanda Júlia Barbosa), emerge como uma experiência central que ressignificou a trajetória artística do autor e se tornou o objeto de análise e memorial artístico deste trabalho. Esse espetáculo proporcionou um encontro com a ancestralidade e o fazer artístico, levando a uma compreensão mais profunda da identidade negra do pesquisador e ao enegrecimento de seu pensamento criativo, refletindo os espaços de construção identitária. O impacto dessa vivência se reflete diretamente na trajetória acadêmica do autor, incluindo sua formação em Artes Cênicas e seu mestrado profissional em Artes. A pesquisa enfatiza o poder de ativação identitária do ritual e sua capacidade de promover o enegrecimento, integrando-se às práticas teatrais como uma abordagem rica e significativa para a expressão artística.
This research aims to reflect on the relationship between theater and ritual, investigating how this connection can serve as a catalyst for the arts. The central question guiding the study is: How can the ritual contribute to the creative process, working as a methodological strategy in scenic creation? This inquiry fosters a critical reflection on the modes of organization in constructing the black performative discourse within the artistic research, employing many theoretical and practical references to understand this complex interaction. At the gist of this investigation, the performance Macumba: uma gira sobre poder, by Companhia Transitória de Curitiba, with staging, direction, and text by Onisajé (Fernanda Júlia Barbosa), emerges as a central experience that redefined the author's artistic trajectory and became the object of analysis and artistic memorial in this work. This act provided an encounter with ancestry and artistic creation, leading to a deeper understanding of the researcher's black identity and the “blackening” of his creative thought, reflecting the spaces of identity construction. The impact of this encounter is directly reflected in the author's academic trajectory, including his undergraduate degree in Performing Arts and his professional master's degree in Arts. The research emphasizes the ritual power of activating identities and its ability to promote blackening, integrating into theatrical practices as a rich and meaningful approach to artistic expression.
This research aims to reflect on the relationship between theater and ritual, investigating how this connection can serve as a catalyst for the arts. The central question guiding the study is: How can the ritual contribute to the creative process, working as a methodological strategy in scenic creation? This inquiry fosters a critical reflection on the modes of organization in constructing the black performative discourse within the artistic research, employing many theoretical and practical references to understand this complex interaction. At the gist of this investigation, the performance Macumba: uma gira sobre poder, by Companhia Transitória de Curitiba, with staging, direction, and text by Onisajé (Fernanda Júlia Barbosa), emerges as a central experience that redefined the author's artistic trajectory and became the object of analysis and artistic memorial in this work. This act provided an encounter with ancestry and artistic creation, leading to a deeper understanding of the researcher's black identity and the “blackening” of his creative thought, reflecting the spaces of identity construction. The impact of this encounter is directly reflected in the author's academic trajectory, including his undergraduate degree in Performing Arts and his professional master's degree in Arts. The research emphasizes the ritual power of activating identities and its ability to promote blackening, integrating into theatrical practices as a rich and meaningful approach to artistic expression.
Palavras-chave
Artes Cênicas. Teatro. Ritual. Ancestralidade. Negritude. Performance. Criação Artística.