Comment les êtres, humains ou plus-qu’humains, en viennent-ils à partager leurs mouvements ? Qu’est-ce qui exauce, soutient ou empêche la confluence de leurs gestes ? Ces questions sont des questions métaphysiques (question de la comobilité des êtres), anthropologiques (question du vivre-ensemble) ou biologiques (question de la symbiose) : pour y répondre, il est de bonne méthode de lire des philosophes, des anthropologues, des biologistes. Nous avons décidé de les adresser à une pratique chorégraphique : le Contact Improvisation, une forme de danse initiée par le chorégraphe américain Steve Paxton en 1972, et où danseurs et danseuses se sautent les un-es sur les autres, entrent en contact les un-es avec les autres, roulent par terre et tombent dans les airs, considérant que la philosophie avait tout intérêt à reconnaître que danseurs et danseuses non seulement savent bouger ensemble, mais, plus important, savent s’apprendre et penser la manière dont ils bougent ensemble. / How do human and more-than-human beings come to share movements? What supports, hinders or ignites the confluence of their gestures? These questions are metaphysical (how do things coexist?), anthropological (how to live together?), and biological (how do we merge and exist symbiotically?): to answer them, our anthropo-phenomenological “philosophy of gestures” offers a reading of contemporary philosophers, anthropologists and biologists. But next to those field specialists, the investigations also led us to ask our questions to dancers and to a dance practice—Contact Improvisation, a movement form that was initiated by North American choreographer in 1972, where dancers jump at each other, enter in contact, roll on the ground and fall in the air. Our hypothesis was simple: we are in urgent need to renew our understanding of movement and specifically of our ways of moving together (with other, humans or more-than-humans), who better than dancers to lead the inquiry with?

A presente pesquisa consiste no relato reflexivo de vinte anos de trabalhos como ator na Companhia do Latão, grupo teatral paulistano fundado em 1997. A análise se estende às visões dos demais intérpretes que integraram e integram esse coletivo cênico, cujo cerne é o aprendizado para uma atuação dialética. Tendo como fundamento as poéticas atorais de Constantin Stanislavski e Bertolt Brecht, minha escrita filtrou todas as produções espetaculares da Companhia, no sentido de apontar uma possível apropriação dos legados do dramaturgo alemão e do ator e diretor russo. E o que foi mais importante: de que modo propusemos nossos próprios meios pedagógicos, estéticos, políticos e técnicos nas salas de ensaios e apresentações públicas, para lidar tanto com textos estabelecidos por autores como Bertolt Brecht e Heiner Müller quanto os que foram criados pelo grupo. Orientei-me pelas minhas memórias, pelas publicações editadas pelo grupo, através dos depoimentos que colhi junto aos meus consortes, adicionando bibliografias sobre atuação, nacionais e estrangeiras. O resultado dessa interseção aponta para o levantamento de recursos e conceitos teatrais, indicando uma interpretação dialética no Brasil que, de forma alguma, encerra-se com este trabalho. / The present research comprises a reflective account of twenty years of work as an actor in the Companhia do Latão, which is a theater group from São Paulo founded in 1997. The analysis extends to include the perspectives of other interpreters who have been part of, or continue to be part of, this theatre collective, whose core work is in learning for dialectical performance. Taking as a basis the original poetic writings of Constantin Stanislavski and Bertolt Brecht, my own writing has explored all the theatrical productions of the Company in order to point out a Brazilian appropriation to the legacies of the German playwright and the Russian actor and director. More importantly, the question was in how we proposed our own pedagogical, aesthetic, political, and technical methods in the rehearsal rooms and in public presentation, to deal with both the established texts by authors such as Bertolt Brecht and Heiner Müller, and those which were created by the group. I went through my memories, publications edited by the group, and the testimonials that I collected together with my colleagues, adding bibliographies on acting from Brazil and other countries. The result of this sythesis points to a collection of resources and theatrical concepts, indicating a dialectical interpretation in Brazil, a work which is in no way yet completed with this work.

A presente pesquisa trata da utilização da improvisação como recurso didático para o ensino e aprendizagem da guitarra flamenca possibilitando ganhos qualitativos na técnica instrumental, na percepção e na interatividade nas aulas e apresentações coletivas. A proposta metodológica teve como suporte teórico proposições de Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso e Vinko Globokar na área de educação musical e práticas de improvisação e Pierre Schaeffer referente à escuta do objeto sonoro. Na pesquisa de campo, foram realizadas aulas experimentais com um grupo de alunos compostas por atividades de improvisação, conteúdos da música e técnica da guitarra flamenca, além de questionários. / This research deals with the use of improvisation as a didactical resource for the teaching and learning of flamenco guitar allowing qualitative gains in instrumental technique, in perception and in interaction in class and collective presentations. The methodology proposal has been supported by theoretical propositions of Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso and Vinko Globokar in the area of music education and practice of improvisation, as well as of Pierre Schaeffer referred to the listening of the sound object. In field research, experimental classes were conducted with a group of students and they were composed of improvisational activities, of music content and of flamenco guitar technique, besides some questionnaires.

O intuito deste trabalho foi o de, através da pesquisa sobre o processo criativo na Livre Improvisação, desenvolver estratégias de criação e explorar a palavra como agente potencializador nos processos de criação. Para compreender o fenômeno da criação na Livre Improvisação, buscamos alternativas metodológicas adaptando modelos de análise que permitissem uma aproximação coerente às artes performativas a partir do esclarecimento sobre os conceitos dos Processos de Criação e do Paradigma Indiciário. Da mesma forma, exploramos o significado da criatividade para a Livre Improvisação, demonstrando a importância de componentes de processo criativo como o imaginário, a criatividade, o risco e a invenção. Dessa forma, apresentamos como se deu o desenvolvimento de uma estratégia criativa a partir da palavra, vinculada às ações que envolvem os conceitos de ressonância emocional e endoconceitos como componentes do processo de criação relativo à Livre Improvisação. Para isso, contamos com um laboratório de experiências práticas, segundo os conceitos de processo criativo, o qual foi denominado ateliê. Apontamos a partir dos conceitos explorados e das experiências práticas, nosso caminho na formulação destas estratégias que apontam para diferentes perspectivas criativas para a Livre Improvisação. / The purpose of this study was to develop strategies to create and explore the word as a potentiating agent in the processes of creation, through research on the creative process in Free Improvisation. To understand the phenomenon of creativity in Free Improvisation, we seek methodological alternatives, adapting models of analysis that would allow a consistent approach to the performing arts from the clarification of the concepts of Creativity Process and Evidentiary Paradigm. Likewise, we explore the meaning of creativity to the Free Improvisation, demonstrating the importance of the creative process as components of the imagination, creativity, risk and invention. Thus, we present how they were developing a creative strategy from the word, linked to actions that involve the concepts of emotional resonance and endo-concepts as components of the creative process on the Free Improvisation. For this, we have a lab practical experience, according to the concepts of the creative process, which was named ateliê (studio). We aim to explore the concepts and practical experience, our way in formulating these strategies targeted at different creative perspectives to the Free Improvisation.

Organisational improvisation is often seen as a way for corporations to be able to cope with emergent strategies (Cunha, et al, 1999) and a way to meet the challenges of modern ways of working which include agility, flexibility and responsiveness (Vera and Crossan, 2004). However, seeing improvisation as a tool that can be used to deliver desirable organisational change is placing it within a discourse of systemic consultancy techniques that are predicated on assumptions about organisational change which I argue do not reflect the everyday lived experiences of people at work. As a management consultant, I have worked with many organisations using tools and techniques in an attempt to deliver prescribed outcomes. However, these never seemed to turn out as expected, for my colleagues or myself. Through my research I have understood that organisational change is far more pluralistic and uncontrollable than is suggested by systems thinkers like Seddon (2003; 2008) because consultants or managers could never predict with certainty how change initiatives would play out. I build on Mead's model of communication (1934) where a gesture to another evokes a similar response in the gesturer as it does the responder as part of the whole social act. In doing so I argue that improvisation is a way of describing communicative interaction between human bodies which are interdependent and therefore in relations of power with one another. As groups and individuals we become invested in and caught up in organisational games where many different groups struggle against one another in an attempt to control the game and get what they want. As these improvisational moves in the game are played, narrative themes that organise our experience are both sustained and contested at the same time. But these narrative patterns are not solely about working practices or procedures but also include wider aspects of identity such as gender and sexuality, which are interwoven in our organisational lives. Specifically I am arguing that communication is not just one body gesturing and responding to another, but one sexed and gendered body gesturing and responding to another sexed and gendered body and this affects our interactions, assumptions and understanding of what it is we are doing together. These improvisations which both create and maintain narrative themes emerge through the paradox of the rehearsed and the unrehearsed at the spontaneous moment of performance, where the anticipation of an audience's reaction, represented by Mead's concept of the generalised other (1934: 154), both enables and constrains one's performance.

This paper explores an approach to building electronic musical instruments for use in improvised music that I have found to be particularly effective for developing flexible, dynamic, and versatile instruments well adapted to the improvised context, and a resultant set of suites of solo improvised character pieces. The lessons learned from this research can be useful beyond the scope of this particular instrument design philosophy. In Part I, I present the foundations of my approach to instrument design, based on my past experience and the technological environment in which electronic music has developed. I discuss the values that guide me in the creation of instruments for use in improvised performance, and describe the development tools iRTcmix and Nikl, and Dixey, an instrument I have created with those tools and hardware devices using the Apple iOS operating system. Part II discusses the musical issues related to the creation of Character Weekend, a set of solo recordings produced with the tools described in Part I.

A presente pesquisa consiste no relato reflexivo de vinte anos de trabalhos como ator na Companhia do Latão, grupo teatral paulistano fundado em 1997. A análise se estende às visões dos demais intérpretes que integraram e integram esse coletivo cênico, cujo cerne é o aprendizado para uma atuação dialética. Tendo como fundamento as poéticas atorais de Constantin Stanislavski e Bertolt Brecht, minha escrita filtrou todas as produções espetaculares da Companhia, no sentido de apontar uma possível apropriação dos legados do dramaturgo alemão e do ator e diretor russo. E o que foi mais importante: de que modo propusemos nossos próprios meios pedagógicos, estéticos, políticos e técnicos nas salas de ensaios e apresentações públicas, para lidar tanto com textos estabelecidos por autores como Bertolt Brecht e Heiner Müller quanto os que foram criados pelo grupo. Orientei-me pelas minhas memórias, pelas publicações editadas pelo grupo, através dos depoimentos que colhi junto aos meus consortes, adicionando bibliografias sobre atuação, nacionais e estrangeiras. O resultado dessa interseção aponta para o levantamento de recursos e conceitos teatrais, indicando uma interpretação dialética no Brasil que, de forma alguma, encerra-se com este trabalho. / The present research comprises a reflective account of twenty years of work as an actor in the Companhia do Latão, which is a theater group from São Paulo founded in 1997. The analysis extends to include the perspectives of other interpreters who have been part of, or continue to be part of, this theatre collective, whose core work is in learning for dialectical performance. Taking as a basis the original poetic writings of Constantin Stanislavski and Bertolt Brecht, my own writing has explored all the theatrical productions of the Company in order to point out a Brazilian appropriation to the legacies of the German playwright and the Russian actor and director. More importantly, the question was in how we proposed our own pedagogical, aesthetic, political, and technical methods in the rehearsal rooms and in public presentation, to deal with both the established texts by authors such as Bertolt Brecht and Heiner Müller, and those which were created by the group. I went through my memories, publications edited by the group, and the testimonials that I collected together with my colleagues, adding bibliographies on acting from Brazil and other countries. The result of this sythesis points to a collection of resources and theatrical concepts, indicating a dialectical interpretation in Brazil, a work which is in no way yet completed with this work.

A matéria de que trata esta tese é a discussão do espetáculo Teatro-Esporte (tradução artística do método de improvisação teatral criado por Keith Johnstone) e suas contribuições para o trabalho do ator e para a formação de e do público de teatro. Este trabalho (desenvolvido por meio da discussão de situações reais, vivenciadas em treinamentos e apresentações do espetáculo) examina questões pertinentes ao processo de criação teatral, vistas sob a ótica dos fundamentos do referido método de improvisação, e como estes se materializam no espetáculo e em sua relação com o público. A partir desta análise, torna-se possível considerar a aplicação das ideias de Keith Johnstone como um caminho, tanto para o trabalho do ator na criação de cenas, personagens e narrativas, quanto para a construção do espetáculo, uma experiência teatral viva, na qual a imaginação e a espontaneidade ocupam lugar de destaque, enquanto uma pedagogia do espectador. / The subject matter of this thesis is the discussion of spectacle Theatresports (artistic rendering of the method of theatrical improvisation created by Keith Johnstone) and their contributions to the actors work as well as the formation to and of a theater audience. This work (developed through discussion of real situations that are experienced in training and presentations of the show) examines the issues that are pertinent to the process of theatrical creation, from the perspective of the grounds of the above mentioned method of improvisation and how they materialize in the show and their relationship to the audience. From this analysis, it becomes possible to consider the application of Keith Johnstones ideas as a way to both the work of the actor in creating scenes, characters and narratives as well as a construction of a spectacle, a lively theatrical experience in which imagination and spontaneity occupy a prominent position as a spectators pedagogy.

A presente pesquisa trata da utilização da improvisação como recurso didático para o ensino e aprendizagem da guitarra flamenca possibilitando ganhos qualitativos na técnica instrumental, na percepção e na interatividade nas aulas e apresentações coletivas. A proposta metodológica teve como suporte teórico proposições de Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso e Vinko Globokar na área de educação musical e práticas de improvisação e Pierre Schaeffer referente à escuta do objeto sonoro. Na pesquisa de campo, foram realizadas aulas experimentais com um grupo de alunos compostas por atividades de improvisação, conteúdos da música e técnica da guitarra flamenca, além de questionários. / This research deals with the use of improvisation as a didactical resource for the teaching and learning of flamenco guitar allowing qualitative gains in instrumental technique, in perception and in interaction in class and collective presentations. The methodology proposal has been supported by theoretical propositions of Hans-Joachim Koellreutter, Teca Alencar de Brito, Rogério Costa, Chefa Alonso and Vinko Globokar in the area of music education and practice of improvisation, as well as of Pierre Schaeffer referred to the listening of the sound object. In field research, experimental classes were conducted with a group of students and they were composed of improvisational activities, of music content and of flamenco guitar technique, besides some questionnaires.

O intuito deste trabalho foi o de, através da pesquisa sobre o processo criativo na Livre Improvisação, desenvolver estratégias de criação e explorar a palavra como agente potencializador nos processos de criação. Para compreender o fenômeno da criação na Livre Improvisação, buscamos alternativas metodológicas adaptando modelos de análise que permitissem uma aproximação coerente às artes performativas a partir do esclarecimento sobre os conceitos dos Processos de Criação e do Paradigma Indiciário. Da mesma forma, exploramos o significado da criatividade para a Livre Improvisação, demonstrando a importância de componentes de processo criativo como o imaginário, a criatividade, o risco e a invenção. Dessa forma, apresentamos como se deu o desenvolvimento de uma estratégia criativa a partir da palavra, vinculada às ações que envolvem os conceitos de ressonância emocional e endoconceitos como componentes do processo de criação relativo à Livre Improvisação. Para isso, contamos com um laboratório de experiências práticas, segundo os conceitos de processo criativo, o qual foi denominado ateliê. Apontamos a partir dos conceitos explorados e das experiências práticas, nosso caminho na formulação destas estratégias que apontam para diferentes perspectivas criativas para a Livre Improvisação. / The purpose of this study was to develop strategies to create and explore the word as a potentiating agent in the processes of creation, through research on the creative process in Free Improvisation. To understand the phenomenon of creativity in Free Improvisation, we seek methodological alternatives, adapting models of analysis that would allow a consistent approach to the performing arts from the clarification of the concepts of Creativity Process and Evidentiary Paradigm. Likewise, we explore the meaning of creativity to the Free Improvisation, demonstrating the importance of the creative process as components of the imagination, creativity, risk and invention. Thus, we present how they were developing a creative strategy from the word, linked to actions that involve the concepts of emotional resonance and endo-concepts as components of the creative process on the Free Improvisation. For this, we have a lab practical experience, according to the concepts of the creative process, which was named ateliê (studio). We aim to explore the concepts and practical experience, our way in formulating these strategies targeted at different creative perspectives to the Free Improvisation.