Dançar o mundo petrificado: a experiência estética e o lugar do inconformismo

Abstract

This doctoral research, based on the critical theory of society, aims to analyze the possibility of mobilizing non-conformity from the aesthetic experience of dance-theatre. This important artistic movement of the 20th century, whose characteristic is to tension the threshold between dance and the performing arts, is close to the place of the subject we are trying to reach here, who is himself a threshold formation between bodily and mental being. With the aim of rescuing the sensitive subject forgotten by the massifying dynamics of the neoliberal mode of socialization, we seek to elaborate the formative dimension allowed by the aesthetic ordering between subject and object. The approach to art, represented here by a work by the German choreographer Pina Bausch, which takes the body as its main instrument, allows us to meet the forgotten aspects of the subject's relationship with himself. On a path that begins with the need to mark the subject as something that has its constitution denied and relegated to oblivion, passing through an understanding of the apparatuses that specialize in maintaining a certain social order, we reach the need to focus on the status of the subject in order to point out the practices that allow for the defence of its autonomous existence. Given that current Western culture produces the conformation of the subject by focusing on their body, which has become an object of action, it is the corporeal dimension, because it contains something nonassimilable, that safeguards the possibility of autonomous movement. Thus, it is the resumption of the sensible and its modes of registration that allow non-identity to be recognized as what guides criticism, which then involves understanding the treatment given to the body in culture. Based on the analytical potential produced in an antithetical way, it is proposed that, based on the contributions of the authors of the first generation of the Critical Theory of the Frankfurt School in dialogue with Freudian psychoanalysis revisited by Lacan, the analysis of the way in which the aesthetic experience of Pina Bausch's dance-theatre can be considered as a key to understanding the possibility of mobilizing bodies in an aesthetic perspective oriented towards the production of non-conformity.