Corpo-criação: ressonâncias entre dança e a aprendizagem

Abstract

This work intends to set up approaches between dance and Deleuze and Guattari’s nomad philosophy to produce an experimentation in which body and learning notions gain performance meanings allowing us to personify, in this writing, a narrativity poltitics that is passed over by dance, the dancing teacher, the dancing students...restless writing, characterized to displace the body-form to a device that unfold into other ones. Mobilized by a cartographic investigation that pass through a workshop and a school dances, these questions allow a lot of discussions about the notions of body, art and learning, trying think the body-creation notion to talk of another subject constitution front the operation of a factual device. This subject “falls on the dance round” and experiencing the improvisations and the inventive imitations, make the round and make itself on the round, performing and perform itself. The subject “falls on the dance class” tracing escape lines that leak from the form of the offered content to the collective flow, allowing the constitutions of another existence way before to the learning problem. The improvisation on the round and the school dance help to open wide the body-form, openning space to the collective-body thought as a device to discuss education as a processivity. Through of the improvisation game and joke on the round, a refined attention process pervades the dancing-bodies to the collective of the forces that surrounds the forms of the dance workshop. However, the school dance and its respective classes appear in a reseach as a procedural field that allows us the collective body update that makes reverberate on the consolidated forms of this territory a kind of learning where “dance” the apprentice ballerina, Igor and the dancing-teacher. It is created a words choreography focusing the force lines and the affections that compound the body event on its molecular condition, arranging some resonances between dance and learning.