O malocorpo do ator: diálogos entre porcessos de atuação e saberes de povos ameríndios

Abstract

This thesis presents notions of the actor's malocorpo, when in a state of scenic performance, from the syllogism created by the junction of the words maloca and body. The term comes from studies in the field of anthropology and corresponds to the ability of Marubo shamans to invite other beings (not only humans) to inhabit them during their shamanic rituals. The research was developed seeking to establish dialogues between processes of action and knowledge from Amerindian peoples. The result was a writing organized in two parts. In the first, the study extends through shows performed by Pará actor and pedagogue Cacá Carvalho, between 1978 and 2018, when the actor's malibody is identified and understood as a recurring principle in these personal scenic writings elaborated by him. In the second, the study focuses specifically on the process of acting about Pará actor Claudio Barros in the ceremonyshow Pachiculimba (2017), a creation of Pará Usina group, directed by this researcher and coordinated by Cláudio Melo. In this case, the objective is to recognize new configurations of malibody in this process, based on Cacá's inheritance of acting to these creators, during artistic-pedagogical meetings held in Belém do Pará, since 1987. The first theoretical-philosophical references that support these dialogues encompasses the theories of the scene (with an emphasis on scenic acting as an act of knowledge, according to Jerzy Grotowski, and the ontological dimension of theatrical doing, according to Jorge Dubatti; a conceptual web of philosophers' Difference Philosophy). Gilles Deleuze and Félix Guattari (rhizome, becoming, virtuality, image-time), another conceptual web based on the anthropological current of Amerindian perspectivism, mainly from the studies of anthropologists Eduardo Viveiros de Castro, Pedro Cesarino, Carlos Fausto and Els Lagrou (predation, breast, malocorpo) As a result, this research configuration of new theatricalities by understanding the acting processes less as an act of becoming something or someone to be achieved by the actor and more for the action poetic. In this sense, this thesis intends to contribute to acting studies by presenting reading conceptions for actor art, based on ontologies derived from the cultures of primitive peoples of the Americas.