Teatro negro e atitude: corpos negros na cena em Belo Horizonte

Abstract

Black Art is a space of rupture, and somehow, helps the understanding of the facts, and with this, the construction of the black subject, which occurs with the help of African civilization values that are essential to understand the world from its (our) view. If we were previously voiceless and invisible, as Martins (1995) showed us, we are now breaking up and culturally rebelling, and the BLACK THEATER AND ATTITUDE (TNA) in its 25 years of acting contributes to a rupture and black insurgency in Belo horizonte´s theatrical scene. Through this research we are seeking to register the birth of TNA, the whole framework that supports its emergence, and also to understand the process of assemblage that its shows and how they reverberated in the lives of its participants. We understand how the group forged its Aesthetics of Attitude and Poetics of Blackness as fundamental elements for the transformation of the subject and its quilombo gathering. We separated the chronological line of the group in three sevens - from 1993 to 2000; from 2001 to 2008; from 2009 to 2018-, and interviewed two subjects of each of them. I emphasize here that the group's history and my own converge in theater, so we chose to use the qualitative method with the episodic interview brought by Uwe Flick (2009), where we talked with actresses and actors who performed at TNA, trying to understand what transformed their lives and what brought them closer to it. Similar to the interviews, we did a documentary analysis, revisited the texts of the staged pieces, printed materials about the group, pictures, clippings, audios and other narratives. There are three reasons that make people look for the group: for it is a place of black militancy; for being a black research collective; for being a collective that allows the individual to manage their art.