O teatro como forma de se colocar no mundo: a formação de identidades nos grupos Galpões

Abstract

The first motivation of this work was the comprehension of the identity construction dynamics inside Grupo Galpão, which was considered initially as the research locus. Our objective was to study identity in relation to arts production context. We conceived the social reality in focus as a product of subjects daily construction. Subjects are seen as active participants and interpreters of their surrounding world. As we got closer to the research locus, we observed that Grupo Galpão was actually a very diversified and complex organizational structure. So, we chose three internal groups of actors to study deeply, as they seem to have their collective identity related to Galpãos entity name. The three groups were the Galpãos main group of actors, the group of Oficinão Project 2009 conducted by Galpão Cine Horto and the group of actors of Malarrumada Company. Getting contact with the field and reviewing literature about identity supported our option to approach identity as practice, as a result of human activity in the world (CIAMPA, 2005). The identitary analysis in this research was based on the conception of identity as a constantly changing attribute, which is daily constructed by everyday activities. Revelation of whom the person is, in particular the study of this revelation by the researcher, has necessarily to go through interpretation of his/her practices, i.e., by capturing these practices as discourses that give sense to the action. Discourses, in this sense, can be verbal or not. So, we assume that practices must be conceived as discursive practices, which establish sense relations between enunciator and receptor (FAIRCLOUGH, 2003). In addition, considering a negative philosophical perspective, we understand that (discursive) everyday practices could be directed to material existence in the world or to transcendent activities. In existence moments, individual is dedicated only to playing social roles and directs his/her behavior according to his/her objective relation with the world. On the other hand, in transcendence moments, individual could dedicate his/herself to contemplation activities, to arts, to authentic interaction e to critical thinking. We believe that human Reason operates differently during existence or transcendence activities. The former is oriented by an instrumental rationality and the latter by substantive rationality (ARENDT, 2004; MANNHEIM, 1986). In this sense, every day practices oriented by different rationalities let individual perform instrumental or authentic identity. Applying this theory to organizations context, we point to the importance of studying individuals in relation with collective levels, because, in different systems of social life, the practice of different types of rationality become desirable to individuals. (RAMOS, 1981). However, we also assume that individuals are capable of expressing authentic identity in instrumental oriented contexts, because they could change themselves and change repressive conditions (CIAMPA, 2005). By the end of this research, we could demonstrate relations between artists individual identities and their groups. These relations happened by shared discursive practices, as genres. They were mainly about the groups objectives, structures and typical characteristics of the members. We also made a comparative analysis of the collective identities and some considerations on the art production in current context. Finally, we showed a scheme consolidating the knowledge we could generate by the research. We believe that this knowledge is a way of expanding sense zones about identity and rationality issues.