ABSOLUTELY NOTHING: Process of Disassembling a Scenic Performance
Performance, Scenic Disassembly; Creation Laboratories; Mounting Notebooks.
In this practical-theoretical research, the Scenic Disassembly (DIEGUEZ, 2009), is thought with its hiatus, considering the spectator no longer as the passive subject who attends a spectacle, but as a constructor of the scene of which he shares. Joining the personal and collective memory under a common ground to a certain theme and / or issue, the dismantling establishes a dialogue that is rebuilt with the public as a kind of confession of the uncertainties and the sharing of the performer in the unveiling of his path and his choices. Disassembly is far from being a spectacle, it is the opposite of it; presents its reverse and is 'itself' that reveals it, becoming an act that suggests the recreation and the invention of other ways of acting: ethics, aesthetics and politically. The idea of scenic unveiling as reflections, narratives, questions, doubts, sharing of techniques and experiences is evidenced between the real, the personal and between the very relationship with the viewer who witnesses a disassembly, where the artist tries to perform the paths in the own body at risk. In this qualification memorial we present some partial results of our investigation into the genesis of the dismantling and the study on the performative theater of the Terreira Oi Nóis Aqui Traveiz (Porto Alegre-RS), where we conducted a study of the Dismantling Evoking the Dead: Experience, developed by actuary Tania Farias of the aforementioned group. Finally, the researcher dedicates himself in what he calls the Laboratory of Performative Staging, presenting Disassembly Notebooks as traces of writing in process. In this way, it predicts in the deed the action of its performance, called Absolutely Nothing that will be established by the researcher, as a practical disclosure of this investigation.