As an artist working with the female model, this practice-led research examines concepts of alterity and subjectivity while challenging the dominant role of male subjectivity in the western world. It revolves around the relationship between myself and the female subject, a specific woman who within the context of my work epitomises but at the same time transcends womanhood. This undertaking suggests that my representations of her body grow out of a dialectical tension between the feeling that the female other has almost become a metonymic extension of myself, and the awareness that such a feeling is at the same time illusory. The practical component of my investigations takes the form of body-themed box assemblages which are reminiscent of polyptychs, tabernacles and reliquaries. However, the sacred images which form part of these ecclesiastical items are replaced with others showing close-ups of the fragmented bodies of the model and myself. While this kind of profane artefact acts as a receptacle for our bodies which are broken down and enshrined together with other objects, it constitutes part of an ongoing process whereby the relationship between myself and the female figure is metamorphosed, re-shaped, and re-visioned. The significance of these creations is meant to extend beyond their artefactual existence and become mediums through which I re-visit female sexuality and eroticism and assess them within a spiritual context, albeit in the circumscribed framework of a particular woman. The artefact s ultimate objective is to appease my innate desire to access the other via a self-reflexive process which involves both mirroring and distancing at one and the same time. This process also includes an exploration into the spiritual with the aim of exploiting that which is other in the western theological tradition, namely God and the Divine. The gaze is also deeply involved in this exploration of the other. In fact, while our bodies are subjected to a re-visitation and trans-valuation in parts through multiplication and fragmentation, the gaze is in the process broken down into a series of glances which originate from myself, the viewer or the female subject. This process questions and disrupts the dominance of the male gaze, and its associated precepts, in Western visual culture. Finally, by correlating the model s body with the divine, my artefacts seek to give this woman, as an embodiment of the true other, a trans-corporeal identity. Rather than seeking to exert control over the other, they provide a pious space wherein the self and the other are able to encounter each other in a manner that initiates an equitable relationship, unhindered by presumptive knowledge. This is aided by the aesthetics and dynamics underlying the box assemblage which, while expressing gender fluidity and encouraging disengagement from preconceived dogmas a sort of reverse cognition also enhances the experience of its deific symbolism.

There is a close relationship between art and philosophy. From time to time, philosophy attempts to make art its theme. Invariably it has to acknowledge the very qualities of art that it seeks to explain - art’s elusiveness and its indeterminateness. On the other hand, it is the nature of art to philosophise within itself, about itself, and about the world. In this sense it operates as tacit philosophy. The language of art and the language of philosophy differ in form; but recent turns in philosophy have led to the expression of its truth in terms that transcend language and question its own epistemic structure. At the same time, art has always acknowledged its approach to ‘truth’ and ‘knowledge’ as being ‘other’ to that epistemology. This ‘otherness’ to traditional ways of knowing is recognised in philosophical discourse as ‘alterity’. The thesis posits that in art alterity has always been, and remains, tacit and integral to art’s being. Thus, by exploring the ways in which – through alterity – art and philosophy intersect and interweave, the thesis aims to reveal a new kind of knowledge that transcends the rational and the empirical but is nonetheless not only valid, but of the very highest integrity. That knowledge is transmitted through a particular critical and creative approach to philosophy and to art that opens the possibility of the ‘event’ of Alterity. The thesis uses a discourse of philosophy and critical theory to reveal Alterity in philosophy, principally through the work of Derrida, Heidegger, Adorno, and Levinas; Alterity in art through the works of Fra Angelico, Pollock, Fantin-Latour, Malevich, Vermeer, and Saitowitz; and Alterity in my own art practice through a set of six sculptures.

Cette thèse examine la transmission de l’identité sociale de genre au sein des familles ayant migré de l’Afrique subsaharienne vers la France. Elle interroge en quoi l’identité sociale genrée est obligatoire pour l’individu qui veut et doit devenir un acteur social compétent. La migration entraîne la confrontation entre les différentes stratégies mises en place par parents et enfants pour la construction d’un projet identitaire, projet compatible ou opposé. Elle questionne, d’un point de vue méthodologique, l’effet de la subjectivité sur le recueil des données : la rencontre met en lumière des asymétries entre chercheur et enquêté, analysées au cœur de l’interaction des différents agencements des dimensions de l’identité sociale. La méthodologie de ce travail repose sur des entretiens avec des migrants venus de l’Afrique subsaharienne (adultes n=31, adolescents n=9) et des observations ethnographiques dans une église pentecôtiste Congolaise en France (durant une année, 2 fois par semaine). Face à la transition impliquée par la mouvement migratoire (passage de la famille élargie au modèle nucléaire, appartenance au groupe minoritaire stigmatisé des migrants en France, traces des vécus de guerre), les parents ont recours à des représentations sociales genrées et ethnicisées fixes, ainsi qu’à la religion en tant que ressource symbolique stable. Ensuite, il est demandé aux enfants de reproduire le modèle familial fondé sur un système sexe-genre selon une injonction paradoxale : rester fidèle aux normes des parents, tout en achevant l’ascension sociale du système social dont leurs parents sont exclus. Enfin, le recueil de la perspective des parents et des enfants révèle un système complexe d’échange symbolique dont l’objet est la transmission et la construction de normes et de places sociales. La condition de l’autre nous montre en quoi l’expérience du lien social dépend des processus de transmission transgénérationnelle qui régissent la mise en altérité. / The present thesis examines social gender identity transmission amongst a community of Sub-Saharan African migrants in France. From a theoretical perspective the study examines how gendered social identity is not an option for individuals to become competent social actors. Here, gender both organizes social categories and is a tool for analyzing social hierarchies. From a methodological perspective, the study questions the effect of subjectivity on data collection. The asymmetries between researcher and participant that arise in the field highlight the very dynamics at play in social identities and are taken into account in data analysis. Interviews with migrants from Sub-Saharan Africa (adults n=31, adolescents n=9) and ethnographic observations in a Congolese Pentecostal church in France (1 year, twice-weekly) first reveal their recourse to stable gender norms and religious practices. The transition of migration implies the passage from an extended to nuclear family system, membership to a stigmatized minority group, and traces from war experiences. Secondly, parents want their children to reproduce the family model founded on a sex-gender system in which sexuality and social categories are hierarchically differentiated. The children are faced with a paradoxical injunction: to remain faithful to their parents’ norms whilst achieving the social ascension in the system from which their parents are excluded. Finally, the perspective of both parents and children reveal a complex system of symbolic exchange for which the stakes of transmission are the construction of norms and social positions. Such an exchange implies that both adults and youth must adhere to a gendered and hierarchical system governed by religion. Alterity, exemplified by gender and ethnicity, is therefore the result of a double process of social construction and exclusion. Through the condition of the other, this study reveals how the experience of social cohesion depends upon transgenerational transmission, which governs social differentiation through the attribution of otherness.

O trabalho aqui proposto apresenta a hipótese de que na obra de Ruy Duarte de Carvalho, especialmente nos livros que compõem a trilogia Os filhos de Próspero, autoficção é utilizada como uma espécie de artíficio para representar o outro, o não ocidental. Nos três romances que compõem a trilogia, Os Papéis do Ingles, As paisagens propícias e A terceira metade, é possível observar um narrador-personagem, identificado com o autor, que se desloca pelo sul de Angola e norte da Namíbia, contando ao leitor sobre as paisagens que percorre e as pessoas que encontra em seu caminho. Pretendemos analisar dois aspectos centrais dessas narrativas: o modo como se configura o narrador e a forma encontrada por Ruy Duarte de Carvalho para representar o outro em suas narrativas, tomando como base a fortuna crítica escrita sobre sua obra do autor, textos teóricos sobre a autoficção como gênero literário e a discussão sobre alteridade e etnografia presente na literatura antropológica do fim do século XX. / This paper looks through Ruy Duarte de Carvalho\'s work - highlighting the Os Filhos de Prospero trilogy - in order to analyze how autofiction is used as a literary device to represent the non-Western other. In these three novels - Os Papeis do Inglês, As Paisagens Propicias and A Terceira Metade - one can notice a narrator/character, identified with the author himself, travelling from Southern Angola to Northern Namibia as he tells the reader about the landscape and the people he meets during the trip. Based on the critical canon about the novelist, on theoretical texta on autofiction as a genre and also on the discussion about alterity and etnography one can find in 20th century antropology, we intended to analyze two central aspects in his telling: the configuration of the narrator and the path Ruy Duarte de Carvalho followed when representing the other in his literature.

Este trabelho tem o intuito de investigar os sentidos da produção discursiva por meio do qual a educação infantil (re)produz o lugar institucional da criança-problema. Para tanto, discute inicialmente o percurso histórico das práticas educativas em torno da criança de zero a seis anos, destacando a adoção de um modelo escolarizante e seus efeitos no cotidiano de seus agentes e clientela. Constituído por concepções que privilegiam o desenvolvimento cognitivo da criança, esse modelo produz efeitos paradoxais nas relações diariamente vividas em creches e pré-escolas. Um desses efeitos é a imagem da criança que não se enquadra aos valores, padrões e modelos esperados. A partir da perspectiva institucionalista proposta por Aquino no que se refere à análise das práticas escolares, este trabalho nutriu-se do pressuposto teórico-metodológico de que, no discurso dos protagonistas da ação educativa sobre a criança pequena, materializam-se as representações acerca da criança que não corresponde ao que dela se espera, em geral tomada como problema. O material discursivo examinado foi obtido por meio de observações do cotidiano de uma creche e uma EMEI da rede pública do município de São Paulo, bem como de entrevistas com educadoras de ambas as instituições. As análises indicaram que, em consonância com o discurso pedagógico contemporâneo, fundado nos preceitos científicos, as práticas concretas da educação infantil controlam e classificam sua clientela, estabelecendo modelos de ação que têm como objetivo desenvolver a criança. Entretanto, para além de tal propósito, tais práticas sinalizam um caráter nitidamente normativo da ação pedagógica aí desenvolvida e indicam que a subjetividade que nelas se produz é crivada pela norma desenvolvimentista, ou seja, criança que se comporta e se desenvolve conforme características e expectativas previamente definidas. Em relações assim instituídas, parece não se conceber outra forma de se relacionar com a diversidade da clientela que não seja a do ajustamento ao padrão. Como consequência, a criança que se distancia da norma, seja por excesso, seja por falta, acaba sendo interpretada como desigual, anômala ou disfuncional. Contudo, por meio das histórias de alguns personagens desviantes, foi possível constatar como certas crianças, ainda bem pequenas, criam estratégias sutis de resistência à normatização, desenhando singularidades na forma como nela se inserem. Mesmo tendo sua subjetividade ditada pela norma, tais crianças mostraram que esperam ser vistas não com um olhar que as aponte como desvio, mas que as reconheça como alteridade e diferença. / This dissertation aims to investigate the meaning of the discourse production through which child education (re)produces the institutional place of the problem-child. For this purpose, it initially discusses the historical course of educational practices over the zero-to-six-yearold child, emphasizing of a school oriented pattern and its effects on its agents and clientele`s everyday life. The pattern formed by conceptions which privilege cognitive development of the child, produces paradoxical effects on everyday relationships experienced in day-carecenters and kindergartens. One of these effects is the image of a child who doesnt fall under expected values, standards and patterns. From the institutional perspective proposed by Aquino concerning school practices analyses, this paper is based on the theoreticmethodological presupposition that, in the protagonist educational action discourse over the young child, there presentations around the child who doesnt correspond to what is expected from him/her, normally taken as problem-child, materialize. The examined discourse material was obtained Through observations in the everyday life of a public day-care-center and an EMEI (a public kindergarten) both in the city of São Paulo, as well as through interviews with educators from both institutions. Analyses indicated that, is consonance to contemporary pedagogical discourse, founded in scientific precepts, child education concrete practices control and classify their clientele, establishing patterns of action, which aim to develop the child. Nevertheless, beyond action and indicate that the subjectivity which is produced in them is riddled by the development oriented norm, that is, the child that behaves and develops him/herself according to previously defined characteristics and expectations. In instituted as such, it seems unconceivable to have other forms of relationships with the clientele diversity than the adjustment to the pattern. As a result, the child that distances her/himself from the norm either by excess or by deprivation will eventually be interpreted as unequal, anomalous or nonfunctional. Nevertheless, through stories of some deviated characters, it was possible to verify how certain children, still very young, create subtle strategies of resistance against the norms, drawing singularity in the way they insert themselves in it. Even having their singularity norm dictated, such children showed they expect to be seen not with a look that points them as a deviation, but that recognizes them as alterability and difference.

Abstract The period of South Africa’s political transition in the late 1980s and 1990s also saw a number of interesting developments in the field of cultural production, especially within the province of literature. A number of literary scholars, critics of all realms, writers, some enthusiasts and adventurers all showed interest in the direction of literature after the repressive years of apartheid. The dominant academic question at the time centred on the possible transition in the thematic and formalistic dimension of the literature of the new South Africa. Scholars and cultural commentators that include Es’kia Mphahlele, Njabulo Ndebele, Albie Sachs, Guy Butler, Elleke Boehmer, Michael Chapman, Mbulelo Mzamane, Andries Walter Oliphant, amongst others, all contributed immensely in the debates that attempted to define the possible direction of the literature after apartheid. This research is concerned with the developments in the Post-Apartheid South African Novels of English expression. Its focus is on how temporal mobility has impacted on cultural production especially as witnessed in the many transformations in the field of literature, particularly the novel as a genre. Using the tropes of memory, violence, and otherness, it examines the novels of writers as varying as André Brink, J.M. Coetzee, Zakes Mda, Zoë Wicomb, and Jo-Anne Richards. At the level of form, the fantastical and the confessional modes of narration are discussed as significant manifestations of the post-apartheid narratives using the novels of André Brink and Jo-Anne Richards respectively. It suggests that, among other things, the post-apartheid novels of English expression are marked by some interesting thematic blocs that include the fascination with land, the artistic display of remorse through the confessional mode, the rekindling of memory and its representation in narrative, the peculiar interest in violence and alterity, the continuing reportage of the urban space and the implications of urbanity on the ordinary citizenry, the recourse to gangsterism, miscegenation and the dilemma of a humankind confined to the psychological spaces of the interstices. Efforts were made in this research to avoid the ‘intellectual apartheid’ often associated with the hermeneutic engagements of the literati previously devoted to South Africa’s literary scholarship. It is for this reason that a more elaborate introductory chapter highlights aspects of the contributions of novelists and scholars that include Nadine Gordimer, Mongane Wally Serote, Lewis Nkosi, Njabulo Ndebele, and the ‘emergent’ ones such as Phaswane Mpe, K. Sello Duiker, Pamela Jooste, among others. An important dimension to this study is that it situates the Post-Apartheid narratives not only within relevant historical contexts, but also develops its argument by drawing immensely from the intellectual culture dominant in South Africa before, during, and after the notorious era of racial separatism. It concludes on the suggestive note that South African writers and literary scholars should attempt to demonstrate a more rigorous interest in locating the creative points of convergence between the aesthetic and social ideals.

[pt] Este estudo tem por objetivo investigar alguns modos de ser protagonizados por jovens, a partir da arte teatral, em projetos sociais, e a sua repercussão sobre a constituição da noção de cidadania. Particularmente, o trabalho se apóia nas análises desenvolvidas a partir de observações da montagem da peça Urucubaca, trabalho realizado por jovens integrantes da Trupe de Teatro do Grupo Cultural Afro Reggae (GCAR), cujas atividades são realizadas no Parque Proletário de Vigário Geral, bairro do Rio de Janeiro. Baseada nos autores Michel Certeau e Mikhail Bakhtin, a pesquisa, cuja duração foi de 7 (sete) meses, teve como recurso metodológico a utilização de dois instrumentos: a entrevista e o diário de campo. A primeira foi realizada com 7 (sete) integrantes do grupo, sendo 6 (seis) jovens e 1 (um) diretor. Já o diário de campo contou com as observações e apontamentos feitos a partir das visitas realizadas aos ensaios e atividades em geral, nas quais o grupo da Trupe de Teatro trabalhava em prol da constituição daquela peça. A presença e o envolvimento destes jovens neste projeto em especial acabava por gerar um espaço em que eles construíam para si modos identitários através dos quais eles não apenas firmavam o seu pertencimento àquele grupo, como também se projetavam como autores de suas próprias vidas. / [en] This study aims to investigate some ways of being by young people from the theatrical art, social projects, and its impact on the formation of the concept of citizenship. Particularly, the work will be supported in the analyses developed from observations of the assembly of the teatrical piece Urucubaca, formed by young members of the Group Theater Trupe of Cultural Afro Reggae (GCAR), whose activities are carried out in the Parque Proletário, Vigário Geral, Rio de Janeiro state. Based on author Michel Certeau and Mikhail Bakhtin, the research, whose duration was 7 (seven) months, had methodological use of two tools: a interview and diary of field. The first was performed with 7 (seven) members of the group, 6 (six) youths and one (1) director. During the journey some notes and abservations had been made about the activities of the group of Trupe of Theater whose worked in favour of the constitution of that piece. The presence and involvement of young people in this project in particular ended by creating a space in which they construct for them all modes of identity through which they not only firmate their belonging to that group, but also projected them as authors of their own lives.

Este estudo, construído através de revisão bibliografia e de pesquisa etnográfica, aborda as historias narradas pelos Kaiowa de Panambizinho (Dourados, MS), a partir de dois eixos de análise: - a ocupação não indígena da fronteira entre Brasil-Paraguai, largamente calcada nas políticas estatais, desde o final do período imperial, que se dá na contramão dos direitos jurídicos relativos à ocupação indígena de suas terras; - as percepções dos Kaiowá a respeito deste processo. A analise das narrativas reunidas durante a pesquisa permite ainda contextualizar a construção de suas noções de alteridade, territorialidade e organização social. O intenso contato e a drástica redução das terras inserem os Kaiowa em um contexto de grandes mudanças, que, entre outros aspectos, impulsionam uma simplificação de suas formas de organização e transformam as práticas de suas lideranças. Contexto onde os xamãs e as práticas rituais perdem muito de seu espaço. / This study, made up of bibliographical proofreading and ethnographical research, discuss about the stories told by Kaiowa de Panambizinho (Dourados,MS), from two lines of analysis: - the non-indigenous occupation of Brazil-Paraguay border, widely molded into the state politics, since the end of the imperial period, that is given in opposition to the juridical rights related to the indigenous occupation of their land; - Kaiowa\'s perceptions concerning to this process. The stories analysis joined during the research let contextualize the building of their notions of alterity, territoriality and social organization. The intense contact and drastic land reduction introduce the Kaiowa into a contest of great changes, in other aspects, they impel a simplification of their organization form and change the practice of their leadership. In this context, shamans and their ritual performance lose their space.

O medo é sinônimo da incerteza, da ignorância frente ao desconhecido. E, assim como argumentado por Bauman (2008), a escuridão não é a causa do perigo, mas é o habitat natural da incerteza - e, portanto, do medo. Na sociedade há inseguranças em praticamente todas as instâncias da vida e o sujeito vivencia o medo constante. Como reflexo dessa sociedade globalizada, baseada na privatização e desregulamentação, a cultura da mídia por vezes figurativiza, representa o tema do medo (de desastres naturais, doenças, desemprego, terrorismo) à imagem de monstros fantásticos, ou contrafactuais. São seres que confrontam nossa identidade e ameaçam a estabilidade social. Ao misturar a fantasia a elementos reais (promovidos pela ciência) o gênero da ficção científica utiliza um cenário futuro para levantar questionamentos sobre a sociedade atual e as relações entre o eu e o outro. A partir dessa discussão, neste estudo utilizamos o universo ficcional de dois filmes que fazem sucesso há mais de quatro décadas unindo terror e ficção científica, para, a partir deles, agrupar teorias e referenciais que possibilitem problematizar a alteridade no gênero da ficção científica e compreender como ela reflete os medos e as ansiedades. Os filmes O planeta dos macacos (1968) e Alien - o oitavo passageiro (1979) foram analisados pela perspectiva de autoras e autores dos Estudos Culturais, como Fredric Jameson, Douglas Kellner e Stuart Hall, além da metodologia de análise fílmica e da semiótica greimasiana. Observamos como conclusão que os seres alienígenas têm mais em comum com a espécie humana do que pensamos num primeiro momento; eles são capazes de aflorar os sentimentos mais obscuros, como a ganância e o ódio; geram insegurança e ameaçam a vida e o bem-estar / Fear is synonymous with uncertainty, with the ignorance in the face of the unknown. And, as argued by Bauman (2008), darkness is not the cause of danger, but it is the natural habitat of uncertainty - and therefore, fear. In society, there are insecurities in virtually every instance of life and people experiences constant fear. As a reflection of this globalized society, based on privatization and deregulation, media culture is sometimes figurative, representing the theme of fear (natural disasters, illness, unemployment, terrorism) as fantastic or counterfactual monsters. They are beings who confront our identity and threaten social stability. By blending fantasy with real elements (promoted by science), the genre of science fiction uses a future scenario to raise questions about current society and the relationship between self and other. From this discussion, in this study we used the fictional universe of two films that have been successful for more than four decades, uniting terror and science fiction, and, from them, group theories and references that make it possible to problematize the otherness in the genre of science fiction and to understand as it reflects fears and anxieties. The films The Planet of the Apes (1968) and Alien (1979) were analyzed from the perspective of authors of Cultural Studies, such as Fredric Jameson, Douglas Kellner and Stuart Hall, as well as the methodology of film analysis and Greimasian semiotics. We have observed that the alien creatures in the film have more in common with the human species than we might think at first; they are able to surface the most obscure feelings, such as greed and hatred; they can generate insecurity and threaten life and welfare

Esta pesquisa se propõe a compreender como e por que a experiência estética teatral nos territórios palestinos ocupados pode ser transformadora tanto para os artistas envolvidos quanto para os espectadores, revelando-se um meio de autonomia criativa, emancipação subjetiva e afirmação do corpo em contexto de opressão, violência e constante violação aos direitos humanos. A presente investigação toma como base o caso do grupo e centro cultural Teatro da Liberdade (Masrah Al-Hurriya, em árabe, e The Freedom Theatre, em inglês), situado no campo de refugiados de Jenin, no norte da Cisjordânia, visitado pela pesquisadora em duas ocasiões diferentes (2008 e 2016). A princípio, apresenta-se um percurso ao mesmo tempo histórico e geográfico pelos territórios palestinos a fim de compreender o impacto da dominação e das ingerências do Estado de Israel sobre a terra e a população árabe da Palestina na atualidade. Avi Shlaim, Ilan Pappé e Achille Mbembe estão entre os autores utilizados. Em seguida, examinam-se os aspectos do fazer artístico teatral nos territórios palestinos e a especificidade do Teatro da Liberdade, que foi fundado por um judeu-palestino, o ator e diretor Juliano Mer-Khamis. Textos de Judith Butler e Rustom Bharucha oferecem subsídios cruciais. Analisa-se, então, o cotidiano do Teatro da Liberdade, em especial as vivências proporcionadas por sua Escola de Teatro e pelo curso Interpretação, Criação Coletiva e Resistência Cultural, com base em entrevistas presenciais com estudantes, atores, professores e demais integrantes, realizadas durante a pesquisa de campo em 2016, que guiou-se pelos princípios da abordagem cartográfica (Passos; Kastrup; Escóssia, 2009), privilegiando o plano da experiência. Por fim, pretende-se evidenciar os elementos que fazem do teatro uma potente forma de resistência cultural e política no contexto palestino de hoje, partindo de reflexões de Ileana Diéguez sobre a \"crise dos representados\", de Jacques Rancière acerca da partilha do sensível e de Walter Benjamin nas teses de Sobre o Conceito de História (1940), entre outros. / This research aims to understand how and why the theatrical aesthetic experience in the occupied Palestinian territories can be transforming for both artists and spectators, becoming a means of creative autonomy, subjective emancipation and affirmation of the body in a context of oppression, violence and constant violation of human rights. The present investigation is based on the case of the group and cultural center The Freedom Theatre (Masrah Al-Hurriya, in Arabic, and Teatro da Liberdade, in Portuguese), located in the Jenin refugee camp, north of the West Bank, visited by the researcher in two different occasions (2008 and 2016). At first, it is presented a historical and geographical journey through the Palestinian territories in order to understand the impact of the State of Israel\'s domination and interference over the land and the Arab population of Palestine today. Avi Shlaim, Ilan Pappé and Achille Mbembe are among the authors consulted. Next, we examine the aspects of artistic and theatrical work in the Palestinian territories and the specificity of The Freedom Theatre, which was founded by a Jewish-Palestinian: the actor and director Juliano Mer-Khamis. Texts by Judith Butler and Rustom Bharucha offer crucial subsidies. The daily life at The Freedom Theatre is analyzed, especially the experiences provided by its Theatre School and the course Acting, Devising and Cultural Resistance, based on face-to-face interviews made with students, actors, teachers and other members, during the field research in 2016, which was guided by the principles of the cartographic approach (Passos; Kastrup; Escóssia, 2009), privileging the plane of experience. Finally, it is intended to highlight the elements that make theatre a potent form of cultural and political resistance in today\'s Palestinian context, starting with Ileana Diéguez\'s reflections on \"the crisis of the represented ones\", Jacques Rancière\'s thoughts about the distribution of the sensible and Walter Benjamin\' theses from On the Concept of History (1940), among others.