Este estudo tem como objetivo rever o modo de produção textual em processos de criação para a cena performativa. Partimos, assim, do seguinte problema: seria possível engajar o corpo na atividade de escrita? A fim de responder a essa pergunta, traçamos uma breve história do corpo e de sua relação com a escrita desde a modernidade, utilizando estudos de teóricos como Georges Vigarello e David Le Breton. O intuito é demonstrar que a visão cartesiana do homem cindido - em que mente e corpo são instâncias separadas - é uma construção histórica e que pode, portanto, ser questionada e combatida. Nossa hipótese é que processos de escrita que envolvam uma experiência corporal farão emergir textualidades que se efetivam em gestos e implicam em gestualidades. Ou seja, textos cuja compreensão não se dá apenas de forma racional, mental, mas que também atingem o leitor, ou o ouvinte, em sua materialidade corporal. Com o objetivo de verificar essa hipótese relacionamos, então, diversas práticas de escrita e as obras delas resultantes - processos e textualidades que analisamos à luz da noção de gesto, tal qual concebida pelo crítico literário Dominique Rabaté. Dentre os artistas estudados, modernos e contemporâneos, estão: Charles Baudelaire, André Breton, Georges Perec, Cao Guimarães e Myriam Lefkowitz. O estudo das obras desses autores acabou por revelar transformações históricas: a transformação da relação do homem com seu corpo, assim como a transformação dos espaços da vida cotidiana desses homens. Assim, as práticas empreendidas pelos artistas estudados servem para mostrar tanto o resultado do \"progresso\" da visão racionalista do mundo, quanto a necessidade da invenção de novas estratégias para superá-la. Por fim, a partir dos estudos de caso, refletimos sobre a possibilidade de transpor tais práticas corporais na criação de textos para obras cênicas performativas. Focamos, então, na última etapa do trabalho, em experimentos feitos pela própria pesquisadora. É importante salientar que os resultados obtidos não pretendem formalizar ou cristalizar um modelo para a dramaturgia performativa, pelo contrário, têm como intuito abrir novos horizontes para que se invente outras formas de provocar, criar e fazer emergir textualidades para a cena. / This study aims to reconsider the text production in performative theater\'s creative processes, dressing the following question: would it be possible to consider the practice of the body in the writing activity? Using studies from Georges Vigarello and David Le Breton, we retraced the history of the connections between body and writing, from modernity to contemporaneity, in order to prove that the separation between body and mind is a historical construction that can be questioned and fought. Our hypothesis is that performative processes, which engage the writer\'s body in an experience, will generate performative texts, which accomplish gestures. That is, texts that wouldn\'t have only a rational comprehension, but would also touch the reader, or listener, in his corporeality. With the objective of verifying this hypothesis we connected different writing practices and their results - processes and textualities analyzed under the concept of gesture, as conceived by the author Dominique Rabaté. The analysis of works from artists such as Charles Baudelaire, André Breton, Georges Perec, Cao Guimarães and Myriam Lefkowitz, showed the transformation in the relation between human beings and their bodies, as well as the transformation of the everyday life\'s environment. Thus, the study of these artists\' practices evidence the result of the \"progress\" of the rationalist mentality, and the need of creating new ways to overcome it. Lastly, from these case studies we propose a reflection about the possibility of importing those practices to a performative theater creation process, focusing, in the last part of this work, in experiments made by the researcher. It is important, nevertheless, to emphasize that the results from this study are not to be considered as a crystalized format for the performative playwright, on the contrary, this research aims to open new horizons for the invention of other ways to provoke, create and make emerge textualities for the stage.

Este trabalho analisa a criação teatral contemporânea das mulheres, questionando a caracterização da obra teatral a partir do recorte de gênero feminino. Para tanto, explora os termos teatro feminino, teatro(s) das mulheres e teatro feminista e suas implicações na crítica e prática teatrais, na cena internacional e nacional. Aponta a necessidade de revisão dos termos, partindo de sua historicização; ressaltando a atual multiplicidade de estratégias e suas poéticas particulares, em especial, nas atuações de algumas performers, das atrizes criadoras integrantes do Odin Teatret e da rede internacional Magdalena Project. Observa ainda o progresso do teatro feminista, nas criações de teatro lésbico, teatro feminista negro e teatro multicultural e questiona a ausência dessas formulações no teatro brasileiro, em paralelo ao enfraquecimento do teatro político nacional. A fim de iluminar o complexo cruzamento entre corporeidade, processos criativos e subjetivação, sugere a constituição de imagens encarnadas, bem como a análise do corpo sexuado no processo de comunicação teatral; projetando a idéia de um teatro do andrógino, capaz de subverter concepções binárias e encorpar a instabilidade das performances de gênero. / This work analyses womens contemporary theatrical creation, inquiring about the characterization of theatrical work, having female genre as an outline. The terms: female theatre, womens theatre(s) and feminist theatre are investigated as well as their implications in theatrical practice and criticism, both in the national and international spheres. A revision of these terms is called for, taking their historicity into account; emphasizing the current multiplicity of strategies and its particular poetics, especially, in the acting of some performers, of the creating actresses who participate in Odin Teatret and of the international chain Magdalena Project. It also examines the development of the feminist theatre, in the creation of the lesbian theatre, the black feminist theatre and the multicultural theatre, calling the absence of such formulations in Brazilian theatre into question, alongside the weakening of the national political theatre. In order to throw light upon the complex interplay of corporality, creative processes and subjectiveness, it suggests the constitution of embodied images, as well as the analysis of sexed body in the process of theatrical communication; proposing the idea of a theatre of the androgynous, capable of subverting binary conceptions and embodying the instabilities of performances of genre.

Essa pesquisa tem com objetivo principal traçar as conexões entre as artes contemporâneas, especialmente as da cena e as visuais. Estes possíveis fluxos midiáticos podem nos levar a repensar o conceito de montagem para além do meio audiovisual, numa possível hipermontagem que conecte diferentes mídias e sentidos. Essa é a hipótese que sustenta a idéia do Kinokaos. A extensa e variada obra de Hélio Oiticica serve como objeto aonde aplicamos a metodologia selecionada para averiguar essa hipótese, já que em sua obra, encontramos um evidente fluxo inter midiático que parte da pintura, passa pela instalação e o cinema até chegar à performance. Por isso, no capítulo um apresentamos um diálogo entre as idéias de Eisenstein acerca da montagem com exemplos retirados na obra de Oiticica. Já o segundo capítulo busca os traços de performance possíveis na trajetória do artista, sempre cotejando-os com a metodologia do projeto. No terceiro capítulo analisamos todas as obras fotográficas produzidas para o projeto, dando especial atenção aos intercruzamentos, conexões e todos os possíveis fluxos que se estabelecem entre vida e obra, entre artista e pesquisador, até culminar com as conclusões do último capítulo. Estudar estes fluxos e se possível conceituar a hipermontagem como um ferramental teórico possível para se compreender as artes contemporâneas, pode ser muito útil a outros criadores e pensadores imersos em nossa sociedade fragmentada, fortemente midiatizada e permeada pela vida digital. / Investigate the unexpected connections between performance and visual arts, based on Eisenstein ideas about montage and performativity concept were the aim of this research. To trace the so called mediatic flows, especially on Oiticica opus and kinokaos photographs, can give montage a wider range of application as a concept, beyond film editing, forwards to connect different senses and medias. This possible hypermontage is the main idea of kinokaos project and a contributing approach to cross-disciplinary field. The Brazilian visual artist Hélio Oiticica\'s work is an example of how these flows can migrate from panting to performance, cinema and installation. Chapter one explore these flows in a dialogue with Eisenstein\'s montage. Next chapter seeks for traces of performativity in Oiticica\'s life and work, using contemporary references as guidelines as the RSVP cycles and French post-structuralism. Third chapter focus on art material produced for this project: hundreds of photographs, some performances and one exhibition in UK. All this production is analysed using the theoretical tolls from the previous chapters that leads the discussion to the last chapter of possible conclusions. To study mediatic flows and try to build hypermontage as a concept are the final outcomes of the thesis in order to give a contribution for contemporary artists and art researchers who are concerned about our fragmented society based on medias and digital life.

A presente pesquisa analisa e compara o processo criativo de dois filmes de Andrea Tonacci: Interprete Mais, Pague Mais (1974-1995) e Serras da Desordem (2006), com foco na relação do cineasta com os atores documentados, investigando a questão da encenação, performatividade e teatralidade. No primeiro filme, ao documentar a crise de um grupo de teatro, Tonacci explora a teatralidade inerente à realidade que documenta, resultando em uma presentificação que só existe através de seu registro cinematográfico. No segundo filme, ele encena a vida de um índio com o próprio índio, encontrando na reconstituição da vida do outro uma narrativa essencialmente autobiográfica. A comparação dos dois procedimentos visa ao confronto e a uma possível aproximação entre as diferentes formas de mise en scène/mise en présence no ato de filmar do cineasta, bem como a um entendimento das diferentes formas de encenar/presentificar o real no cinema de ficção e documentário. / This work analizes and compares the creative process of two films by Andrea Tonacci: Play More, Pay More (1974-1995) and Hills of Disorder (2006), focusing on the relationship between the filmmaker and the actors, by exploring the notions of staging, theatricality and performativity. On the first film, while showing the crisis faced by a theater group, Tonacci exposes the teatricality inherent to the reality portrayed, resulting in a presentification that only exists through his cinematic device. On the second film, by enacting the story of a native Brazilian, played by the native himself, he finds on the reconstruction of the life of the other a narrative that is essencially autobiographic. A comparison of the two procedures aims at the confrontation and possible approach of these two forms of mise en scène/mise en présence on the very act of filming, through an understanding of the diferent forms of staging/presenting the real on documentary and fiction films.

A presente pesquisa teórico-prática apresenta uma análise interdisciplinar da poética de obras de performance audiovisual, multimídia e intermídia, com ênfase em como a performatividade e a presença do artista na execução de sua obra estão imbricados na forma do trabalho, cuja composição é permeada por questões relacionadas ao seu dispositivo técnico. Ao abordar situações específicas de obras que imprimem movimento à forma final, a partir das quais consideramos evidenciarse a manifestação da \"mente corporificada\" do criador e inventor como ponto de conexão entre poética e meios empregados para sua execução, chegamos ao princípio das modalidades de presença poética, a partir do qual discutimos as relações entre corporalidade, performatividade e dispositivo técnico. Através de processo laboratorial de instauração de poética de trilogia de performances multimídia intitulado #LiveLivingPerformanceProject chegamos aos pontos teóricos relevantes do trabalho, entre eles os conceitos de mente corporificada (embodied mind), duplo digital (digital double), digital self e audiovisualidade sincrética digital. O projeto artístico multimídia resultante da pesquisa erige-se em um simbolismo transcendental, de livre adaptação e interpretação de arquétipos de mitologias femininas afrobrasileiras e a partir de especificidades da sabedoria dos povos originários, todos relacionados com os elementos da natureza, que serão foco central de instauração de poética do projeto. Calcados nos elementos da natureza, como forças fundantes de personificações simbólicas e psíquicas, demonstraremos como chegamos ao cerne da poética instaurada em #LiveLivingPerformanceProject ao longo do processo de investigação. Ao experimentar variadas interfaces digitais e sistemas audiovisuais, cruzando nossa experiência prática com observação de processos de instauração de trabalhos de performance, formamos nossa análise através da coesão entre processos práticos e operacionalização de conceitos de diferentes campos da filosofia, das artes das imagens em movimento e das performance arts que discutem questões como visibilidade, multimidialidade, intermedialidade, dispositivo técnico, poética, presença e duplo digital. / This practice-based thesis introduces an interdisciplinary analysis of the poetics of audiovisual performance, multimedia and intermedia works. Emphasizing on how the performativity and the presence of the artist in the execution of his work are intertwined in the form of the work; whose composition is permeated by issues related to its technical device. When discussing specific work situations that attach movement to the final shape; from which we consider evidencing the manifestation of the creator / inventor\'s \"embodied mind\" as the connection point, between poetic and the means employed for its execution, we come to the principle of presence modalities, from which we discuss the relationship between corporeality, performativity and technical device. By means of a laboratorial process to establish the trilogy of multimedia performance poetics, entitled #LiveLivingPerformanceProject, we come to the theoretical points that are relevant to the work, as embodied mind, digital double, digital self and digital syncretic audiovisuality. The multimedia artwork that results from the research is built in a transcendental symbolism. Of free adaptation and interpretation of the mythology of female African- Brazilian archetypes, as well as influences of the knowledge of native American peoples; all related to the elements of nature, that will be the central focus of the introduction of the poetics of the project. Paved with the elements of nature as the psychic and symbolic personifications founding forces, we will demonstrate how we got to the heart of the poetics, which is established throughout the research process. When experimenting with various digital interfaces and audiovisual systems, crossing our practical experience by observing establishment processes of performance projects, we form our analysis through the cohesion between practical processes, and operational concepts from different fields of philosophy, arts of moving images and performance arts, which discuss issues such as visibility, multimediality, intermediality, technical device, poetics, presence and digital double.

Avec Charles Baudelaire, nous situons le texte poétique comme un lieu où se cristallise la mémoire collective puisqu’il a largement défini la relation de la postérité au souvenir, à la modernité et même à la ville. Dans la mémoire urbaine que nous héritons de son texte, Paris est ainsi transformé en un lieu de mémoire fictif, habité par des personnages de flâneurs. Ceux-ci, devenus à présent archétypaux, incarnent le spleen et décortiquent la société. En introduisant notre second poète, Stéphane Mallarmé, nous approchons le texte poétique comme le lieu où l’anxiété d’influence est dépassée, et où le disciple doit se libérer de la mémoire paralysante de son maître en démantelant la mémoire collective à laquelle il était sujet. Il laisse place à de nouvelles constructions du langage qui produit une mémoire individuelle différente. La mémoire est donc subvertie et constamment déplacée grâce à deux éléments majeurs qui définissent la poésie de Mallarmé : l’inachèvement et la fragmentation. / With Charles Baudelaire, we locate the poetic text as a place where collective memory is crystallized, as he largely defined the relationship of posterity to remembering, modernity, and even to the city. In the urban memory that we inherit from his text, Paris itself is at stake and becomes transformed into a fictional memory place, populated by now archetypal spleen-filled characters and melancholy flâneurs heading toward artificial paradises. In introducing our second poet, Stéphane Mallarmé, we approach the poetic text as the location where the anxiety of influence is worked through, where the disciple must liberate himself from the paralyzing memory of his master by dismantling the collective memory to which he had been subject. The latter now gives way to new constructions of language that bring about a different individual memory. Memory is therefore subverted and constantly displaced thanks to two major elements that define Mallarméen poetry: incompleteness and fragmentation.

Every year the city of Stockholm is giving out a survey to all parents who have a child in a pre-school. In the pre-school survey parents are asked to answer 26 questions with the purpose of improving the quality of the pre-schools and of helping other parents in the search and choice for a pre-school for their child. The purpose of this inquiry is to investigate how the pre-school managers think about parents doing the assessment and grading of the quality of the work of the pre-school and what consequences it implies to their job. To conquer the purpose of the study five interviews have been done, four out of which were made with pre-school managers and one with a director who has a position in pre-school matters within the district administration of the municipality. With support of an interview guide the aim was to hear the managers own story. Since the pre-schools are up for grading and assessment by outsiders I also want to look for signs indicating that the pre-schools are potentially moving towards a more market oriented way of organizing their work. This has been studied with the assistance of the theory of performativity and questions to inquire in what way the different establishments try to meet the demand of transparency. The study shows that the pre-school managers are eager to involve the parents and make them aware of what they are doing and how they work within the establishment. But on the other hand, they question whether the parents have either the knowledge or the interest it takes to evaluate the efforts of the pre-school in such a way that it really helps to improve quality in the establishment. Despite that, the managers stress that the result of the pre-school survey is important, especially when it comes to attracting new children to their pre-school.

An analysis of what has remained specific to the medium of painting in contemporary practice, as a response to observations from my own artistic practice and the publication of Painting Beyond Itself (2016) by Isabelle Graw and Ewa Lajer-Burcharth.

Digital technology has radically disrupted the established ways of organising the film industry. However, digital initiatives such as marketing and distribution strategies involving social media and online distribution have also provided means through which filmmakers manage this environment. I investigate the role of the digital data involved, which I term Digital Engagement Metrics (DEMs), in market reconfiguration. Through exploratory, longitudinal case study of market construction for independent films, the thesis articulates the interdependent combination of attributes that co-constitute DEMs' highly mobile, and multifaceted valuation capacities, and develops a conceptualisation of their role as a market device. I engage with the literature of translation, calculation, and the performativity and materiality of markets. I then develop an approach for tracing market activity to understand the interaction of networked agencies that shape the arrangement of economic transactions. My analysis is delivered in three empirical chapters, which provide rare data on the emergent digital practice of a film production company. I chart the progressive establishment of DEMs' role in the hybridisation of established market attachment frameworks, and the instantiation of new modes of coordinating market actors. I conclude that the dynamic assembly, content and distributed architecture of market arrangements involving DEMs simultaneously shape the product and enable its calculation. In addition to extending the reach of market studies into a new empirical field, I make a number of contributions to the theoretical literature. My findings bring two coordinating kinds of performativity into focus. These are the creation of felicitous conditions required to mobilise DEMs as an organisational concept, and the digital materialisation of the audience both as the market, and as a qualified property of the market object. Reading DEMs through the market devices lens renders previously hidden modes of calculation visible, and this has implications for developing assemblage-oriented research in the creative industries.

The debate concerning the legitimacy of artistic research that has taken place over the last two decades is notable for the way in which it has drawn attention to rival 'representational' and 'performative' conceptions of thought. In the early stages of the debate, critics such as Durling, Friedman, Elkins and Biggs employed broadly representational arguments in a quasi-legal context of judgment to suggest that processes of artistic research were in some sense unrecognisable when attempts were made to see them through the conceptual lens of 'research'. In contrast to this, advocates of artistic research, such as Haseman, Bolt, Sullivan and Slager proposed that research arising out of artistic practice possessed distinctive qualities - conjoining interests in the experimental, the experiential, and the non-representational, with a set of predominantly transformative aims. Haseman et al have likewise suggested that the concerns of the practitioner-researcher, at least in the context of the arts, are mainly ontological as opposed to epistemological in character - seeking to explore, reframe, or contest existing states of affairs in a broadly performative fashion. Whilst supporters of artistic research often stress the requirement for new ways of thinking to accommodate the specificities of practice-led research, many of the concepts that are employed in an attempt to understand the aims and concerns of artistic research have a long 'process-philosophical' lineage. Process philosophy has been present as a minor current in Western philosophy since as early as 540 BC and through the influence of luminaries such as Dewey and Langer, it has long been associated with education in the arts. Process philosophers typically emphasise both the ontological priority of change and the relational constitution of entities. From the perspective of process philosophy, the world of stable and enduring things arises out of a differential play of interacting forces that admit of multiple and contingent patterns of relation. With this in mind, the contemporary anti-essentialist arguments that are often utilised in the defense of artistic research are positioned in this thesis as examples of process-philosophical thinking, paving the way for an application of the post-structuralist, process-philosophical thought of Gilles Deleuze to the debate concerning the legitimacy of practice-led research. An interesting and long running feature of the legitimacy debate has been the failing of participants on both sides of the discussion to critically engage with their opposition - preferring instead to construct rather idealised, ghostly positions, which ultimately sidestep the specificities of the situation. In an attempt to address the lack of sustained critical confrontation between oppositional voices in the discussion, this thesis attempts a close qualitative engagement with a prominent skeptical position. To this end, the work of Michael Biggs and Daniela Büchler is interrogated from a conceptual, aesthetic and relational perspective, revealing its Wittgensteinian and Kantian roots, and subjecting them to critical scrutiny from the perspective of Deleuzian thought. Biggs and Büchler, have developed a markedly critical voice in the legitimacy debate, importing the early hostility towards practice-led research that arose out of a predominantly North American design community into the context of UK, Dutch and Australian discussion. Biggs and Büchler are much cited within the literature on artistic and practice-led modes of research and they have been influential in the framing of policy. The critique of Biggs and Büchler that is developed in this thesis begins from the observation that their work embodies a broadly conservative emphasis upon representation and recognition, and that it is expressive of what Deleuze describes as the 'dogmatic image of thought'. It is argued here that Biggs and Büchler's resistance to the affective and the performative is pervasive, serving to colour their approach to philosophy, art and aesthetics and to place them at odds with the largely material-experiential, and transdisciplinary interests of many artistic researchers. With this in mind, a series of aesthetico-conceptual strategies are employed in order to problematise Biggs and Büchler's position and to stage an encounter between a process-pragmatism of the left (as typified by the philosophy of Deleuze), and a linguistic-pragmatism of the right (as typified by the philosophy of Wittgenstein). This thesis makes a number of claims to knowledge. Primarily it aims to demonstrate that the justification of artistic research need not be separatist or isolationist in character, but that in demonstrating the overlap between traditional and non-traditional forms of research we need not dispense with artistry or neglect the artefact's performative work. In this sense it aims to show how characteristics sometimes considered specific to practice-led research have a more generalised, if somewhat understated presence in the context of more traditional modes of enquiry. In a similar vein, it aims to demonstrate how a broadly traditional, written thesis might be explored in the spirit of practice-led enquiry - drawing attention to a range of textual, imaginative, conceptual and speculative devices that might enable us to explore the intensities of a problem space, and to investigate the ways in which aesthetic devices might also perform active work in the context of an argument. Ultimately this results in a questioning of the separation of artefact and argument that is characteristic of much discussion of practice-led research. Methodologically the thesis is distinctive in its sustained critical engagement with a single oppositional voice, which is also intended, through a process of extrapolation, to problematise a more generalised positivistic current of thought emanating primarily from the discipline of design. Lastly, the philosophical critique of the Wittgensteinian underpinnings of Biggs and Büchler's position also facilitates a contribution to Deleuze studies - addressing the breadth of Deleuze's concept of relation and critically interrogating the thought of Ludwig Wittgenstein - the philosopher for whom Deleuze seemed to harbour the strongest antipathy, but of whom he was also the most reticent to speak. Whilst it is clear that there has been much interest in the potential application of Deleuze since the inception of the legitimacy debate, and whilst it is clear that the employment of Deleuze as primary theorist in practice-based-research projects is in the ascent, to date there has been little work that is explicitly focused upon the resonance of Deleuzian thought with respect to the productive context, or the legitimacy of the practice-based PhD.