Mazzodi Maya Diaz,
PPGAS - UFSC Brazil
Through analysis sociological-anthropological desire to present a perception of the individual dimensions given by the art of theatrical creation. Theatrical art that allows us to transmute the human quest for resolving the inevitable conflict that is present in the individual's relationship with the community, to and sociality, experience the world we call embodiment, using the word Merleu-Ponty. We will go in some studies to explain this approach.
experience of the flesh: physicality
"[...] Só não o corpo e os são Corpos Construções
cultural but also the very concept of body
is a cultural and historical construction "(2006) [1] .
Sin embargo, para la anthropologist Silvia Citro (2006) el cuerpo es el común substrate bios we share men and women from different societies in transition from birth to death, the body is our anchor in the world, the means by which we inhabit the space and time. She says that on the common materiality of bodies between life and death, societies invent dissimilar practices (daily body techniques, modes of perception, ways of living space, gestures, expressions of emotion, dance) giving rise to representations corporeality and its distinct ties to the world (Citro, 2006:45).
Some anthropological studies have considered the mutability and historical and cultural status of the body through the registration of the diversity of practices and philosophies body of human groups, specifically highlighted the ethnographies of peoples of New Guinea and the Amazon, where the practices and rituals of stretching the neck, circumcision, scarification, tattoos, body painting and the penis sheath, were remarkable (Csordas 1999: 172). You can also highlight studies Paul Radin (1927) on Maori philosophy that distinguishes a material substance and an immaterial form, a ghostly shadow, not a psychological term for the ego of Robert Lowie (1924) on ethnological materials The Crow (North America) and Bushmen (South Africa) relating to the kinesthetic and visual forms of imagination of Robert Hertz (1909) around the primacy of the symbolic on right hand and the hand left and studies of Marcel Mauss (1934) on the techniques of the body and notions of person-thinking through the body duality of Descartes, in anticipation of the notions of practice and habitus developed by Pierre Bourdieu (1977, 1984) (Csordas 1999:173).
particular, the ethnography of Leenhardt (1947) with Canaco pueblo (Melanesia) opened en estos estudios un questioner al establish from sus observaciones field, el de la concepción holistic paradigm del cuerpo muchos pueblos that had characterized the Indians. It respecto de la percepción de la cite the corporalidad Leenhardt,
"When man lives in the mantle of nature and has not yet separated from it, sprinkles it is not more is invaded by nature and only through it knows itself as itself. Do not have an anthropomorphic view, is subject to the effects it produces an undifferentiated view [...] And because it is completely filled WITH THESE Vibrating acha do mundo, o corpo dele não differs. " (Quoted by Citro 2006:67-68).
emphasize the analogy of thought on corporeality Leenhardt indigenous to the metaphor used by Merleau-Ponty to explain that "the experience of the flesh, the overlapping of the existence of the body with the world, becomes an existential feature of human life. " Thus, the perceived worlds are constructed differently in every culture, as even the same everyday practices bodies vary (Citro 2006:69).
The phenomenology of Merleau-Ponty's study considers the body and incorporation, emphasizing that the experience of embodiment the body is not an object, the more a subject, and that the incorporation is the condition that we obtain an object-to objectify reality. Moreover, culture does not lie only in the objects and the representations also in bodily processes of perception, for it is through these representations come into being, these bodily processes that are creative, are linked closely with the intent that binds us to our world (Csordas 1999:185).
Unlike studies of anthropologist Mary Douglas (1966, 1973), for which there are two bodies, natural and social (cultural) or for the Nancy Scheper Hughes studies and Margaret Lock (1987) who distinguished three bodies, the individual (body and self), social (in the representations as a symbol of nature, culture, society) and the body politic (related to control bodies) (Csordas 1999:177-178). Phenomenological studies that happen to Merleu-Ponty considers the body not as a passive tabula rasa upon which society imposes its code, but as a "source of agency and intentionality" that happens in the "inhabit the world" through processes of intersubjective encounter (Csordas, Op.cit: 179) . Is the case with the work of Andrew Strathern and Marilyn Strathern (1970) in Mount Hagen, New Guinea, who are dedicated to decorative painting body on the experience of gender difference, or Terence Turner (1980) that crosses the Kayapo body decoration, from the point of view of the embodiment, as an existential condition in which the body is the subjective source is the basis of experience.
The latter brings us back to what Citro Sivia placed on the relations of the "existence of body in the world" as an existential feature of human life, where the meat is equivalent to the expression using T . Turner (1993), "body surface", defined as the border with society, while the social self and the psycho-biological individual is the place where it staged the drama of socialization. In the case of the Kayapo body decoration is the language used for the expression of intersubjectivity (1993:15).
to circumscribe these studies to the Brazilian ethnology, Seeger, Da Matta, and Viveiros de Castro (1979) Amerindian societies differ in particular elaboration of the notion of person who leaves the living body, understood as local symbolic language (1979:3): "the body, affirmed or denied, painted and drilled, away or eaten, always tends to occupy a central position on the view that indigenous societies have of human nature" (Op.cit.: 4). As the authors explain, the reflections on the role of the body as a "matrix of social meanings and social significance displayed object and in the work of Victor Turner, Mary Douglas, Levi-Strauss, to treat the body as an instrument that articulates social and cosmological meanings: the body is array of symbols and object of thought. In this sense, indigenous societies in South-American study the "physiological body fluids - blood, semen - and the body's communication processes with the world (food, sexuality, speech and other senses) that underlie variations "(Seeger et al. 1979:11).
A purpose of the communication process with the world body: representation
At the beginning of studies of the French sociological school category of person was identified in the collective representations , whether in tribal societies, as in the history of western society, the society met the individual, existential duality of the impersonal-exterior and personal-interior. The Western intellectual context in which emerged sociological interpretations of Emile Durkheim and Marcel Mauss, like constellations had ideas of polarity between reason and feeling, soul and body, sacred and profane, sensitivity empirical and conceptual thinking (or moral activity) of Kant [2] . Durkheim said that "intelligence comme notre notre activité très differente presentence reports deux: il ya les sensations [3] sensitive et les tendances d'un côté, la pensée et l'activité conceptuelle morale de l'autre. " For Durkheim the body, our body, had a place in our mental life, as a substance that conformed with the soul of our existence-personal-selfish individual, our existence was another socially, outside of us in the impersonal, social, moral, what compels us to sacrifice.
In A category of the human spirit: the notion of person, the yo "(1950.2003) Mauss performs a comparative analysis that shows the progression of the development of the category of person, as a category of the human spirit within the Western tradition Christian (psychological self, moral self, I metaphysical). Set as premises of the project, first, the idea we believe to be natural, "person" and "I" emerged and grew slowly over the centuries in the history of mankind, and second, that notion of "person", fluctuates and is "susceptible to further development." In this order catalogs Mauss evolving forms of such concept in different societies based on their rights, customs, social structures, attitudes, calling his catalog of facts ethnographic museum, whose trip includes Pueblo (Zuni), the North American Kwakiutl, and Loritja the Arunta of Australia, to India
The progression of the concept in the social history reveals that many companies came to the notion of " character, role played by the individual " is in the sacred dramas, such as role in family life. also note that the notion of "person" and "I" in the Latin civilization evolved through the strokes of masks, roles in the comedy and tragedy, the names of individual rights, rites and privileges that are heading towards the formation of the notion of person. The Greeks contributed to this story a sense adding to the existing legal morality in society, in this way the person became 'be aware, independent, autonomous, free and responsible. " Finally the Christians made the moral person a metaphysical entity: "Rational substance indivisible individual" (quoted words of Cassiodorus). The person would become so in the category of "I", by way of knowledge of self. Concludes with this passage, we can say that the study of Mauss gave a breakthrough in the questions of Western thinkers cited also concerned about the tension between individual and society .
In tribal societies and magical religious cultural process that guides this self-knowledge occurs through representation on a space-time isolated, ritual body language teacher who is shared with those who learn their art, using meaningful objects in the cultural order, like words, songs, dances, food, beverages, physical postures, psycho-motor activities, which are incorporated in the experience of subjectivity experienced through the flesh of the apprentice, in his corporeality.
Variations in the perception of objects for this embodiment, form the intention of his body, hence the need for isolation of the individual in atonement for the incorporation into the depths of his being more powerful . Now we can steer this course to the stage performance that appears in the Suárez action Lolimar with director Elaine Centeno, in the play called Bollanchain (1995). In this work, a revelation of what happens the other, unspeakable and has multiple special as open subjectivity, using rhythmic body language and heartbreaking, received in stage management that takes place within a circle of gunpowder plot, which some objects particular, a rod, a rope, two dresses, a small trunk, donated to the expressiveness of a self that has been in and out of the mood of his biography contexts, through differentiated relationship with the whole of a story told ago years in an old song by Janis Joplin. And clinging to nothing, Lolimar scene offers activities that make up his meeting with the abysmal space, liminal, his being in the world. I also recognize, in the words of the director, Elaine, who wonders, seeing the work of training his star, "who wants to go backwards or inside ...", which she witnessed a tension between the experience and drainage.
Bollanchain As spectator, glimpse the courage to be "initiated (o)" or apprentice of the master and go with your guide; see in action created by Lolimar in Luisa Andrea, shown an inner journey that throbs from a creative liminality : old memories, childhood and adolescence, maternal figures, figures of authority and rebellion. As I tried to explain, I imagine in my mind by the strings that make a ritual of initiation into any society, which Eugenio Barba calls "pre-training expressive actor." It turns out that in the preliminary phase of these rituals, it is an experience that the body of (a) initiated (a) into his body in the strict silence of isolation, is this experience that I work alongside theater which led to Bollanchain because actions and special effects elements or open place for the actress for the incorporation, leaving the natural limit of human being.
In the scene the actor who goes in this direction to his profession, he undertook a journey to experience etched in their flesh and in the individual subconscious, into a release that exceeds both body art of his profession as the habitus of social person. In this sense the body-mind-memory in which we perceive an intention, is also creator and then reveal a social life or bodily entry before re-created on the mask, the role created for his character on stage. The form taken as given, Andrea Luisa character, which is non-person, ie not-Lolimar more fiction on the images of his life, born in time and space that underwent training as an actress.
In the initiations rituals, whether individual or collective, usually at puberty or in the passageway to the roles of adult life, when the person is removed from social life to stay in isolation ward of a (a) teacher (s) should follow a disciplined a series of ritual to incorporate into your body-mind-memory (fast, quiet, silence, sleep, passivity). Same period of isolation is the preparation for the next phase ritual, the novitiate, described as extended learning that the initiate receives his master: the rules of their specialty, as the skills that will give him prestige in society.
liminal space-time in which it occurs Lolimar training with Elaine who witnesses the action, the place for the final creation presented to the public, the staging and drama composed by actions representing polyphony-scenes images collected vital memory of actress and that presented to her in the sacred space-biography of his physicality on stage defined.
posted this on the table, I turn to the recognition of a creative force in the borderlines of the individual, ie before reaching the status of person. This cultural experience is done in different Amerindian societies and ethnology other registered: it consists of repeated, experienced in the flesh and the subconscious, is linked in some to the formation of a profession, a specialized social role in a valued art. I mean the way of (as) started (as) to the priesthood, shamanism, hunting, painting, the dance, weaving and marriage, but also to the formation of the actor or the philosopher in Western society. The British anthropologist Victor Turner (1982) calls this oid religious and artistic form produced voluntarily, recognizing the autonomy and subversion against the dominant structures (1982:118).
Bibliography
Durkheim, Emile "Le dualism de la nature humaine et ses conditions sociales " An electronic edition made from the article published in - Scientia, XV, 1914, pp. 206-221.
Lévy - Bruhl, Lucien "L'âme primitive " An electronic edition made from the book published in 1927. Paris: Les Presses universitaires de France, 1963, Nouvelle édition, 451 pages. Collection: Bibliothèque de philosophie contemporaine.
Marcel Mauss "A category of the human spirit: the notion of person, of 'I' " in Sociology and Anthropology, 1959, 2003 pp. 369-397.
Maurice Leenhardt " Estructura de la persona en Melanesia," in Do Kamo
Turner, Victor "From Ritual to Theater . The human seriousness of play " 1982, PAJ Publications
[1] Maluf, Sônia Weidner . " Corporeal and desire: All About My Mother and gender in the margin" . Rev. Estud. Women , Jan 2002, vol.10, no.1, p.143-153. ISSN 0104-026X
[2] Luiz Fernando Duarte " The social construction of the modern person " in the life Nervosa in urban working classes. 1986, pp. 35-58
[3] About Durkheim considers them perceive that "In sensations, we should add the images, but as these are only the sensations surviving themselves, it seems unnecessary to mention them separately. It is the same for these conglomerates images and sensations are perceptions ". " The dualism of human nature and social conditions," Scientia, XV, 1914, pp. 206-221.
* Ponencia discutida y presentada en el Coloquio sobre Research in the Performing Arts. 25, 26, and June 27, 2007. Bogota-Colombia
* Photos of the Symposium on Research in Performing Arts. 25, 26, and June 27, 2007. Bogota-Colombia
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