Este trabalho tem por objetivo adensar o efeito performativo da leitura que se pode fazer aqui e agora de diferenciados rasgos das obras do poeta francês Stéphane Mallarmé e da escritora brasileira Clarice Lispector. Sem a intenção de fazer um estudo exegético da totalidade dos escritos desses autores, procederemos por eleger pedaços de suas produções ficcionais que nos afetaram corporalmente e que compõem a trilha do desejo de escrita que se erige a partir deles. Na releitura que fazemos desses dois artistas, evidenciada pela intersecção de ambos aqui promovida, alguns veios temáticos neles recorrentes se fazem notar tais como: a configuração de objetos estéticos que se colocam em relação de similitude com seus padrões referencias; a assunção da palavra que nada designa; certa santidade laica; a orquestração do rumor; o mergulho na premência do instante-já; a impotência diante da linguagem; e o desaparecimento do eu. Das paisagens discursivas que aí vislumbramos, imputamo-nos a tarefa não de responder à pergunta o que, no fundo, tais textos significam?, mas sim o que eles nos fazem desejar escrever? / This work aims to deepen the performative effect of reading that can be done here and now various tears of works of the French poet Stéphane Mallarmé and the Brazilian writer Clarice Lispector. Without intending to do an exegetical study of all the writings of these authors, we opted to elect pieces of his fictional productions that affect our bodies in and composing the score for the desire of writing that is established from them. In rereading what we do these two artists, as evidenced by the intersection of both promoted here, some recurring themes shafts in them are remarkable such as the configuration of aesthetic objects that arise relationship of similarity with their reference standards; the assumption of the word that does not means nothing; certain secular holiness; the orchestration of the rumor; the dip in the urgency of the now-instant; impotence towards the language; and the disappearance of the self. Discursive landscapes glimpsed there, we gave ourselves the task does not answer the question \"what, in the background, such texts mean?\", but rather \"what they make us want to write?

Es planteja la fonamentació d'un model integrat de formació humana, desenvolupament i intervenció organitzacional en un context pedagògic socioeducatiu. S'explicita un nucli d'intel·ligibilitat epistemològic, (Gergen, 1996) i es desenvolupen els seus continguts metateòrics, teòrics i metodològics Per a situar el model en una perspectiva metateòrica constructivista i construccionista social, s'examinen dos canvis considerats rellevants en les explicacions epistemològiques de la ciència que donen suport a aquesta perspectiva: el gir lingüístic i el que els biòlegs biocibernètics de la modernitat anomenen gir ontològic. Aquests fonaments científics del constructivisme, es recullen en el disseny del model que es fa càrrec de tres explicacions plantejades per aquests girs així com de les seves conseqüències. El disseny del model assumeix aquestes distincions i estableix un creuament amb els desenvolupaments post-analítics del gir lingüístic en la comprensió performativa del llenguatge, per a la concepció de l'organització com una xarxa de converses. Assumeix el caràcter emergent de la conducta lingüística en l'acoblament amb el medi. aquest acoblament estructural s'entén enactivament mitjançant l'ús recursiu del llenguatge, per a generar compromisos vers un aprenentatge que integri les persones al sistema. El disseny reencuadra la investigació-acció utilitzant eines de cibernètica de primer ordre en una cibernètica de segon ordre, mitjançant converses recurrents per articular les metes de l'organització amb l'espai relacional. Incorpora metodologies de primera persona performatives i comunicacionals com eines per integrar la dimensió dels valors d'un mateix amb les metes de l'organització amb l'objectiu de reproduir-la mitjançant la integració social. Opera mitjançant el treball en grup per tal que les converses es situïn en la segona persona, (jo-altres), per tal de possibilitar l'emergència de la primera persona.Assumeix la distinció de les dues dimensiones del ésser cognitiu (Varela 2000): una d'enllaç mitjançant el llenguatge per la coderiva del sistema amb el medi, i una dimensió d'excedent de significació, és a dir, d'interpretació per a la reformulació de la experiència en el llenguatge (narrativa), que conservi aquest acoblament amb el medi. Per tal de reduir les pertorbacions que provoca el trencament de l'acoblament emergeix la interpretació com l'alternativa per a generar possibilitats d'acció; passar d'un estat present amb trencaments per fer emergir un estat desitjat com a futur viable. En aquesta escletxa que s'obre en l'espai relacional entre l'estat present i l'estat desitjat pren sentit l'ús d'aquestes eines de conversa per a accedir a un rerefons amb mirada compartida. L'estat desitjat acoblat al llenguatge opera com un feed-forward positiu per a la construcció de sentit. S'ajuda a més d'una visió binocular del canvi, analitzant dos series categorials de pensament en la modernitat. Finalment es descriu l'aplicació i els resultats del Model en una organització de serveis de salut. / Se plantea la fundamentación de un modelo integrado de formación humana, capacitación e intervención organizacional en un contexto pedagógico socio educativo. Explicita un núcleo de inteligibilidad epistemológico, (Gergen, 1996) desarrollando sus contenidos metateoricos, teóricos y metodológico Para situar el modelo en una perspectiva metateórico constructivista y construccionista social, se examinan dos cambios considerados relevantes en las explicaciones epistemológicas de la ciencia que dan sustento a esta perspectiva: el giro lingüístico y el llamado por los biólogos biocibernéticos giro ontológico de la modernidad. Estos fundamentos científicos del constructivismo contenidos en este último, se recogen en el diseño del modelo, que se hace cargo de tres explicaciones que dejan planteadas este giro y de las consecuencias que de ellas surgen para su formalización.- El diseño del modelo asume estas distinciones y realiza un cruce con los desarrollos post analíticos del giro lingüístico en la comprensión performativa del lenguaje, para la concepción de la organización como una red de conversaciones. Asume el carácter emergente de la conducta lingüística en el acoplamiento con el medio. Este acoplamiento estructural se entiende enactivamente mediante el uso recursivo del lenguaje, para generar compromisos para un aprendizaje que integre las personas al sistema. El diseño es un Modelo autopoiético que metodológicamente reencuadra la investigación-acción usando herramientas de cibernética de primer orden en una cibernética de segundo orden, mediante conversaciones recurrentes para articular las metas de la organización con el espacio relacional. Incorpora metodologías de primera persona performativas comunicacionales como herramientas para integrar la dimensión valórica del si mismo con las metas de la organización, para reproducirla mediante integración social. Opera mediante trabajo grupal para que las conversaciones se sitúen en la segunda persona, (yo-otros), para posibilitar la emergencia de la primera persona.Asume la distinción de las dos dimensiones del ser cognitivo (Varela 2000), una de enlace mediante el lenguaje para la coderiva del sistema con el medio, y una dimensión de excedente de significación, esto es, de interpretación para la reformulación de la experiencia en el lenguaje (narrativa), que conserve ese acoplamiento con el medio. Para reducir las perturbaciones que provocan el quiebre del acoplamiento emerge la interpretación como la alternativa para generar posibilidades de acción, pasar de un estado presente con quiebres para hacer emerger un estado deseado como futuro viable. En esa brecha que se abre en el espacio relacional entre el estado presente y el estado deseado hace sentido el uso de estas herramientas conversacionales para acceder a un trasfondo con mirada compartida. El estado deseado acoplado al lenguaje opera como un feed forward positivo para la construcción de sentido. Se apoya para ello, además, en una visión binocular del cambio, analizando dos series categoriales de pensamiento en la modernidad. Finalmente se describe la aplicación y resultados del Modelo en una organización de servicios de salud. / The foundation for an integrated model of human formation, training and organizational intervention within a socio-educational pedagogic context is presented here. It explicits an epistemological intelligibility core (Gergen, 1996) developing its theoretical, metatheoretical and methodological contents. To place the model into a metatheoretical social constructivism and social constructionist perspective, two relevant considered shifts in epistemological explanations of science that supports this perspective are reviewed: the linguistic turn and the so called by biocybernetical biologists ontological turn of modernity. These scientific foundations of constructivism contained in this turn, are brought into the model design that takes charge of three explanations put forward by the turn and the consequences arising from them for its formalization.The design of the model assumes these distinctions and performs a crossing with the post analytical developments of the linguistic turn in the performative comprehension of language, for conceiving the organization as a network of conversations. It assumes the emerging character of linguistic behavior in coupling to the environment. This structural coupling is enactively understood through the recursive use of language, to generate commitments for a learning that integrates persons to the system.The design is an autopoietical model that methodologically reframes research-action using tools of first order cybernetics within a second order cybernetics, through recurrent conversations to articulate organization's goals with the relational space. It incorporates communicational first person performative methodologies as tools to integrate the valoric dimension of the self with the organization's goals, to reproduce it through social integration. It operates through group work placing conversations in second person (I - others), for making the emergence of the first person possible.It assumes the distinction of the two dimensions of the cognitive being (Varela, 2000), one as a link of language for the co-derive of the system with the environment and one as signification surplus, that is, of interpretation for the reformulation of the experience in language (narrative), that keep that coupling with the environment.Interpretation emerges as the alternative for generating action possibilities to reduce perturbations that provoke the breaking of coupling, to go through a present state with breakings to an emergent wished state as a viable future. In this breach opened in the relational space between the present state and the wished state the use of these conversational tools makes sense to access a background with shared vision. The wished state coupled to language operates as a positive feed forward for constructing meaning. It also supports itself on a binocular vision of change, analyzing two categorical series of thought in modernity.Finally, the application and results of the model are described within a health services organization.

Dans une époque de changements des moyens de représentation et communication en architecture, cette recherche porte sur l’enseignement de la conception architecturale et plus spécifiquement sur l’apport que l’informatique pourrait avoir dans ce processus. En nous basant sur une méthodologie qualitative, exploratoire et participative, nous y procédons par enchainement de questions, celle de départ étant la suivante: Comment l’enseignement de la conception architecturale pourrait tirer avantage des moyens numériques? Notre objectif est de proposer des méthodes et des outils d’apprentissage aux étudiants en architecture pour enrichir leurs démarches de conception grâce à l’ordinateur. Après une revue de la littérature dans le domaine, et un approfondissement de l’étude sur le rôle des référents architecturaux et sur la conception intégrée, nous avons procédé à une observation exploratoire du travail des étudiants en atelier d’architecture. Ces premières étapes de la recherche ont permis de dégager des discordances entre les positions théoriques et la pratique en l’atelier, pour concrétiser ultérieurement la question de recherche. Dans le but de discerner des méthodes efficaces et innovatrices pour répondre aux discordances identifiées, nous avons engagé une étude de la littérature sur les théories cognitives par rapport aux connaissances, l’apprentissage et la conception. Certaines stratégies ont pu être définies, notamment la nécessité de représentation multimodale des référents architecturaux, l’importance de représenter le processus et non seulement le résultat, ainsi que l’avantage d’inciter les étudiants à travailler dans leur ‘zone proximale’ de développement. Suite à ces recherches, une méthode d’enseignement complémentaire a été définie. Elle propose aux étudiants des explorations de l’objet en conception basées sur la manipulation des savoir-faire architecturaux. Cette méthode a été opérationnalisée d’un point de vue pédagogique ainsi que didactique et mise à l’épreuve auprès des étudiants en atelier. Un prototype de librairie de référents architecturaux interactifs (LibReArchI) a été créé dans ce but. Elle a été conçue en tant qu’environnement de conception et espace de partage de savoir-faire entre étudiants et enseignants. Les principaux résultats de cette recherche démontrent le rôle positif de la méthode proposée pour le transfert des savoir-faire architecturaux lors de l’apprentissage en atelier. Son potentiel d’assister la conception intégrée et de stimuler l’émergence d’idées a été constaté. Au niveau théorique, un modèle d’un cycle du processus de design avec le numérique a été esquissé. En conclusion, des avenues de développements futurs de cette recherche sont proposées. / Conducted in a period of transition in the representation and communication strategies in architecture, the present research focuses on architectural design teaching and especially on the contributions of digital means to this process. Based on a qualitative methodology, including participative and exploratory approaches, this research evolved around a progression of questions, the first one being “How could architectural design teaching take advantage of digital technologies?” Our objective was to define computer-assisted teaching methods and digital devices that could enrich the students’ design methods. A starting point of the research was a comprehensive literature review of the domain, including in-depth studies of the role of architectural referents in the design learning process, as well as of the integrated design approaches. The findings from these theoretical studies were then confronted with evidence from observations of the students’ design processes when working on a small architectural task. This revealed some discrepancies between the theoretical positions and the teaching practices in the digital architectural studio. The research question was precised in consequence, in order to address them. Specifically, the present research proposes efficient and innovative methods for resolving the discrepancies between theory and teaching practice, based on cognitive aspects of the underlying processes. Focusing on theories of knowledge, learning and design process, we were able to identify some pertinent cognitive strategies for attaining the objectives of this research, namely the necessity for multimodal representation of referents, the importance of representing the process and not only the result, as well as the advantage of motivating the students to work in their ‘zone of proximal development’. As a result of these studies, a complementary design teaching method was defined. It incites the students to perform design explorations based on manipulations of architectural know-how during the conceptual phase of the project. Pedagogic and didactic strategies for the implementation of this method were developed. A prototype of a library of interactive architectural referents (LibReArchI) was created in order to enrich the students’ ‘design space’ and to serve as shared resource between students and tutors. The main results from this research show a positive role of the proposed design teaching method for architectural know-how learning in the digital studio. It was found that this method has the potential to assist some integrated design strategies and to stimulate the generation of ideas. At the theoretical level, we propose a model of one cycle of the conceptual process when performed with digital means. In conclusion, some limitations of the research are mentioned and perspectives for its future development are drawn.

Il presente lavoro cerca di avvicinarsi alla complessità dell'attuale status quaestionis della performance teatrale, con uno sguardo e una prospettiva estetica, rivolto in particolare alla drammaturgia postdrammatica degli ultimi trent'anni; uno sguardo che trova nello studio analitico di tre re-enactements – This is theatre like it was to be expected and foreseen (1982; 2012) e The Power of Theatrical Madness (1984; 2012) di Jan Fabre, seguiti da Les Aiguilles et l'Opium (1991; 2013) di Robert Lepage – un luogo privilegiato di osservazione. / This research tries to approach the complexity of the current status quaestionis of theatrical performance, with an aesthetic perspective focused on the postdramatic theatre of the last thirty years; a look that finds in the analysis of three re-enactements - This is theater like it was to be expected and Foreseen (1982; 2012) and The Power of Theatrical Madness (1984; 2012) by Jan Fabre, followed by Needles and Opium (1991; 2013) by Robert Lepage - a privileged place of observation.

本論文視莎士比亞的《量罪記》為詹姆士王朝城市喜劇。這齣喜劇勾勒出城市的郊區下流地圖誌。過去的批評家在討論此劇時，要不將此劇視為迎接英國新國王詹姆士一世的奉承之作，就是將此劇解讀成對新來統治者的政治批評。本論文試圖超越過去論述的簡單二元對立，以城市喜劇的角度重新切入《量罪記》，分析莎士比亞如何透過戲劇再現城市下流文化，以及此舞台再現如何連結台下底層市民，形成大眾展演政治。 論文第一部分分析《量罪記》與城市下流文化的再現。本劇將維也納城作為「崩壞之身」拉開序幕，此隱喻一方面沿襲自文藝復興時期的身體政治學，一方面又挑戰了它，因為此「崩壞之身」直到劇終仍然維持其「病態」。本劇讓觀眾體驗漫布於城市各個角落的下流文化，包括郊區的妓院群與監獄中的娼寮。本劇表面上似乎在鞏固文森提歐公爵對城市空間的掌控與管理權，另一方面卻又透過「下流」角色的身影，提供觀眾另類的閱讀，揭露城市下流文化的延續與崛起。 論文第二部分探索詹姆士王朝的城市慶典與本劇饒富興味的最後一幕之間的關係。最後一幕中，公爵的皇家入城儀式與詹姆士一世的王室慶典有許多相似之處。城市慶典許久以來便是君王用來展示自我權力的工具之一，詹姆士一世對於自己的王室慶典之抗拒，卻流露出他對公眾討論的恐懼與對自我名譽的管理。他對公眾形象的細心掌控也被再現於此劇的最後一幕中。不過，即使在這最後一幕，嫖客盧求不僅讓公爵淪為眾人笑柄，毀了他的聲譽，更勾起觀眾對城市下流文化之記憶。因此，觀眾目睹的反而不是一個可敬王者的回歸，反而是一個淫亂嫖客之崛起。 論文第三部分將本劇放置在原本的文化、社會與歷史背景中 。《量罪記》屬於1603年後冒出的一波「偽裝國王劇」，這一波戲劇風潮呼應伊莉莎白一世去世、詹姆士一世繼位的關鍵歷史時刻，反映出的是當時人民對於新王來臨產生的焦慮。《量罪記》特別之處在於呈現了城市「下流」人物對於未來生存與否的焦慮。另外，本劇亦與「假國王」的戲劇傳統相關。在此戲劇傳統中，劇作家會透過舞台上的「假國王」來做政治批評，展示適當的統治方式。本論文認為，本劇中影射詹姆士一世的公爵角色也可被視為一個舞台上的「假國王」，崛起的反而是城市「下流」人物。本劇透過丑角盧求邀請觀眾大方嘲弄公爵並且挑戰他早先建立起的權威。最後，盧求成為舞台上的底層大眾化身，透過情色的笑話與不馴的笑聲與台下的觀眾形成「下流」社群，共享大眾歡樂。正是這大眾愉悅的力量，讓此劇不再替統治者的權威背書，反而擁抱了底層下流市民。 / This thesis sees Shakespeare’s Measure for Measure as a Jacobean city comedy that maps an urban vulgar culture. Critics in the past often focused on whether the play should be read as a flattery to the new king, James I, or as a political criticism of the ruler. The thesis goes beyond the simple dichotomy offered by criticism in the past. It reads Measure for Measure as a city comedy and analyzes Shakespeare’s dramatic representation of the urban vulgar culture, which connects the lowlife figures onstage with the audiences offstage, ultimately forming a popular performative politics. The first part of the thesis analyzes Measure for Measure and its representation of an urban vulgar culture. Vienna in the play is represented as a “vile body,” which both confirms and unsettles the early modern body politic, since the vile body stays “ill” till the very end of the play. The play invites the audience to experience how this vulgar culture permeates every part of the city, including the houses of prostitution in the suburbs and a “bawdyhouse” in the prison. While the play seems to confirm Duke Vincentio’s control and regulation of the city, the bawdy figures provide us with an alternative reading of the play, revealing the survival and even the rise of the urban vulgar culture The second part of the thesis relates Jacobean civic pageantry to the play’s intriguing final scene, in which the Duke stages a royal entry that is not unlike James I’s civic pageantry. While civic pageantries had long been used by monarchs to demonstrate their power, James I’s resistance to participating in his own pageantry revealed his fear of public discourses and his careful management of reputation and honor. This careful management of public image is also represented in the play’s final scene. However, even during the final scene, Lucio not only turns the Duke into a mockable figure but also ruins the Duke’s reputation and honor. His stage presence also evokes a suburban vulgar culture. Thus, the audience does not witness the return of a respectable ruler, but the rise of a lascivious whoremaster. The third part of the thesis puts the play into its cultural, social, and historical backgrounds. Measure for Measure belonged to the wave of disguised ruler plays after 1603. The wave of drama was produced during the critical moment when Elizabeth I died and James I came to the throne. It reflected a popular anxiety of the arrival of the new king. Measure for Measure is unique in its dramatization of suburban bawdy figure’s anxiety of their future state. In addition, the play was also closely connected to the “mock king tradition,” in which the dramatists staged a mock king on the stage in order to show the proper way to rule. The thesis argues that Duke Vincentio, who resembled James I in many aspects, could possibly stand for a “mock king.” What the play actually shows is the rise of the suburban vulgar culture. The clown Lucio invites the audience to laugh at the Duke and challenges his authority established in earlier scenes. Lucio eventually stands for the general lowlife public on the stage, forming a “bawdy” community with the audience through bawdy jokes and unruly laughter. It is exactly this power of popular mirth that turns the play from an endorsement of the ruler’s authority to a celebration of the lowlife citizens.

The goal of this thesis was to reassess the relationship between the moving body and technology, and more specifically, to focus on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. According to Dr. Andrea Davidson, 'Such research has rarely been formally identified with the specialised field of somatics' (2013, p.3). The thesis thus proposes to reflect on the experience and conception of the performative body in the link it entertains with technology. Investigating this relationship, it defines a new paradigm, that of an 'interfaced intercorporeality'. This paradigm is constructed with special attention to a different relationship revealed between the interface and the notion of a corporal potentiality or 'interval'. In particular, the thesis focuses on the concept of a 'collective body' based on this relationship and on practical research conducted within the framework of my research, along with the methodology that supported it. The research and creative work that are presented derive from experiments I conceived, conducted and participated in making. My analysis is thus based on direct experience. The relationship between the somatic and technology notably led me to focus on the notion of embodied cognition or 'bodily knowledge' and for this, to re-examine the work of Maurice Merleau-Ponty. As a consequence, this return to the experiential also required revisiting definitions given by the Greeks concerning the aesthetic as a reference to sensation and the ability to perceive. The thesis approaches the body as the ground and basis for creating work, as well as for testing the effect(s) that technology has on it. Experiments conducted sought to develop greater sensory and perceptual awareness in order to invest the relationship of somatics/technology in a dimension that could potentially constitute a transformation of self, of one's relationship to others and to the world. Merleau-Ponty's phenomenological existentialism formed the basis for explorations made to forge links between the somatic and technology. However, it is important to clarify that my intention was not to make an analysis of phenomenology per se. It was rather referenced as a means to explain the framework of my research in relation to lived experience, sensation, and specifically, to my creative approach involving new technologies. Merleau-Ponty's methodology includes subjective, first-person accounts of 'lived experience'. Third-person accounts, or so-called 'objective' positions, are also included. These accounts are then shown to evolve towards an ecosystem of interaction and movement in order to experience and test the production of theory and practical experimentation involved in the methodology I adopted. The thesis incorporates knowledge from several disciplines, but principally from the field of dance and technology. Highlighting sensorial and perceptual phenomena related to the transformation of the body through technology and subjective experience, it takes into account an interdisciplinary perspective that is linked to this problematic. The thesis begins with an introduction to phenomenology in which the concepts and positions of Merleau-Ponty are outlined, including those of anti-dualism, the lived body, the ontology of the body, corporeality, intercorporeality and the flesh. Chapter 1 looks at the evolution of this philosophical movement throughout history and continues with a history of the body in phenomenology, an analysis of certain applications of phenomenology in the field of dance and subsequently, in the specific field of dance related to technology. Chapter 2 comprises a literature review. It also presents the bases of reductionist thinking, the proposition of a return to integrative thinking and issues concerning instrumentalisation, the double and the complexification of the self. It further examines the history of ideas surrounding the relationship between the body and technology, notions of the real-virtual-actual and a history and problematics of the interface. It concludes with a presentation of theories on the notions of potentiality, the interval and real-time. Chapter 3 presents my artistic background, an historical overview of the trends and principal ideas that have influenced my work, as well as an examination of the field of dance and technology from the point of view of its history and more recent developments. Chapter 4 is dedicated to an analysis of the research methodologies employed in the practical research for this thesis and identifies related issues. An analysis of problems encountered with existing methodologies notably highlights a need to invest in other methodological modes for practical research of an interdisciplinary nature. The chapter continues with a presentation of some of the methodologies currently used in the field of dance related to technology. The principles underpinning the specific creative research methodology I experimented with are then presented, proposing an adaptation of the aforementioned methodologies in order to respond to the dynamics of collective research of an empathic nature that are specific to my approach and also in order to invest in the link between the somatic and technology my project proposes. This proposition modestly attempts to respond to the lack of methodologies observed in the field of artistic practical research. A discussion of the experimentation involved in the practical research for the thesis is made in Chapter 5. Two creative experiments are analysed. Their aim was to investigate and develop a collective physical body composed of five dancers in constant contact, whose movement and relationships create what I call a 'collective sound body'. This collective entity produces sound in real-time which is simultaneously spatialised. The analysis takes into account the ways these two bodies are interdependent and constantly interrelated. Schematically, the first experiment served as a basis on which to found principles related to the collective body, while the second experiment developed them. The chapter further outlines creative strategies that were employed to test principles of self-organisation linked to sensation and stemming from the somatic techniques employed. It also returns to some of Merleau-Ponty's main concepts that were implemented and tested in performative experience: intercorporeality, the lived body, the dynamic of continual transformation and the principle of coexistence. Lastly, Merleau-Ponty's investigation of sensation and perception and his concept of sensory chiasms are related to the experiments' multisensory exploration and theme of intersubjectivity which are then proposed as leading to the possibility of intercorporeality. Chapter 6 forms the conclusion and seeks to identify new knowledge generated in the thesis. Essentially articulating another vision of the performative body as developed through its contact with technology, the findings, both practical and theoretical, bring to light a different understanding of the body rendered through a dissolution of psychophysical borders in the development of the performative model I called the 'collective body'. The thesis further proposes that the 'collective body' and its evolution as the 'collective sound body', open up the path to a new approach to interfaces and further, to what I propose as a theory of interfaced intercorporeality. This research aims to reintroduce the body and its specific intelligence in the understanding and building of relationships that can be renewed. The technology used in these experiments was considered as a physicality and the activator of a reconfiguration of sensory-perceptual processes that the thesis argues can lead to the final paradigm of 'interfaced intercorporeality' it proposes.

Este trabalho tem por objetivo adensar o efeito performativo da leitura que se pode fazer aqui e agora de diferenciados rasgos das obras do poeta francês Stéphane Mallarmé e da escritora brasileira Clarice Lispector. Sem a intenção de fazer um estudo exegético da totalidade dos escritos desses autores, procederemos por eleger pedaços de suas produções ficcionais que nos afetaram corporalmente e que compõem a trilha do desejo de escrita que se erige a partir deles. Na releitura que fazemos desses dois artistas, evidenciada pela intersecção de ambos aqui promovida, alguns veios temáticos neles recorrentes se fazem notar tais como: a configuração de objetos estéticos que se colocam em relação de similitude com seus padrões referencias; a assunção da palavra que nada designa; certa santidade laica; a orquestração do rumor; o mergulho na premência do instante-já; a impotência diante da linguagem; e o desaparecimento do eu. Das paisagens discursivas que aí vislumbramos, imputamo-nos a tarefa não de responder à pergunta o que, no fundo, tais textos significam?, mas sim o que eles nos fazem desejar escrever? / This work aims to deepen the performative effect of reading that can be done here and now various tears of works of the French poet Stéphane Mallarmé and the Brazilian writer Clarice Lispector. Without intending to do an exegetical study of all the writings of these authors, we opted to elect pieces of his fictional productions that affect our bodies in and composing the score for the desire of writing that is established from them. In rereading what we do these two artists, as evidenced by the intersection of both promoted here, some recurring themes shafts in them are remarkable such as the configuration of aesthetic objects that arise relationship of similarity with their reference standards; the assumption of the word that does not means nothing; certain secular holiness; the orchestration of the rumor; the dip in the urgency of the now-instant; impotence towards the language; and the disappearance of the self. Discursive landscapes glimpsed there, we gave ourselves the task does not answer the question \"what, in the background, such texts mean?\", but rather \"what they make us want to write?

During this project I’ve been exploring how we can work with things within art to change our way of relating to ourselves, other humans and our surrounding. I want to see if finding inner spaces within us can make us feel more connected to our external surrounding. I want to share the feeling of being connected with things through incorporating them inside our own bodies. I have therefore been leading participants on introspective journeys where they found rooms inside of their bodies. After that I have been translating these inner spaces into immersive performative Scenography, where visitors have been invited to engage with the things in the space with all their senses. All the bodies, things as well as visitors, have been given the possibility to interact on their own terms. I wanted to see what kind of relating this room of Whispering Bodies; the Immersive Scenography inspired and invited to, and I wished for it to be a tactile bonding with a sense of heightened empathy and listening.  This text-based piece, called Whispering Bodies: The Textual Brain, is created out of a curiosity in how a reflection based in the written language can exist as a complementary work for a physical and tactile space, in this case Whispering Bodies: The Immersive Scenography. I wanted to create an experience that would have traces of the room filled with different bodies. I have been experimenting with how to use different mediums to make this happen, and this piece will be a combination of meditation, video, drawings, audio and text, and the text itself will be jumping in between genres. I want to invite you to take part in this journey with me. It will be dry, it will be poetic, it will be telling you what happened, both the factual and the fictional.  If you have any questions, feel free to contact me about the work.

Fans and fandoms are ever more salient aspects of our everyday lives offline and linked to the Internet's growing influence also online, particularly on social media. While fans have generally been pathologized via mass media but also early academic representations especially prior to the founding of the interdisciplinary Fan Studies in the 1970s/1980s, which sought to actively counter negative fan representations and foreground fans' creative productivity, nowadays, even though many types of fans have been 'mainstreamed' and are generally accepted, specific fan types are still systematically discriminated against - even within Fan Studies - along the lines of socio-demographic variables. These marginalised fans are predominantly female, young, queer and non-white. Moreover, even though Fan Studies define fan identity as one of their focal concerns, linguistic research on fan identity, particularly regarding its narrative and interactive construction, has widely been neglected. However, as narrative interaction and specifically small stories (as propsed within the small story paradigm by Bamberg & Georgakopoulou, 2007/8) have been found to play a very important role in the construction of identity, the investigation of how fan identity is constructed via small stories and - given the centrality of collective fandoms for fans - specifically shared (group) stories can severely contribute to fan (identity) research. Thus, combining decidedly linguistic research on narrative fan identity construction and the inclusion of previously marginalised fan communities, this thesis focuses on the construction of fan identity of Taylor Swift fans (Swifties) - a predominantly female and young fandom that has been ridiculed by mass media and dominant discourses - via shared stories. More specifically this study analyses the construction of Swiftie fan identity via shared stories both online in nicknames on Tumblr and Twitter and face to face in the form of a positioning analysis investigating the interactions of a Zoom focus group made up of five German Swifties. This research finds that within Swiftie nicknames Swiftie fan identity is centrally constructed by means of variously highly condensed, combined and/or personalised references (to shared stories of the overarching Swiftie community). The focus group interactions then reveal various positioning practices that are strongly intertwined with (often) more elaborate shared stories, which are 'shared' by the Swiftie participants both with regards to experiences on the story level and their interactive co-construction on the level of interaction. Despite their diverging local manifestations both within the investigated Swiftie nicknames and focus group interactions shared stories are centrally utilised to construct and communicate Swiftie fan identity as a particularly collectively experienced and defined ingroup identity that confers belonging and further functions as a shield against outgroup discrimination. Further research should then enlarge the present investigative focus to include also other online platforms and fan communicative acts, supplementary and also offline implemented focus groups and field studies, more heterogenous participants with regard to often neglected socio-demographic variables (next to age and gender) as well as other (marginalised) fandoms outside of the Swiftie community.

[pt] Esta pesquisa procura discutir o modo pelo qual algumas companhias teatrais cariocas se inserem no contexto do contemporâneo. Na cena contemporânea nacional e internacional, um grande número de grupos e companhias teatrais voltam-se para a experimentação estética em que o texto dramático serve como estímulo à livre interpretação e jogos de improvisação que resultam em espetáculos mais expandidos. Nesse contexto a escrita cênico-dramatúrgica se sobrepõe ao texto previamente escrito. Assim, os conceitos de teatro pós-moderno e de pós-dramático, cunhado pelo teórico Hans-Thies Lehmann, são contrapostos ao de performativo, como proposto por Erika Fischer-Lichte e Josette Féral. Embora tais conceitos possam ser operativos para alguns espetáculos estudados nesta pesquisa, não dão conta do repertório das companhias cariocas. Dessa forma, primeiramente, após o exame do pós-dramático, e performativo, busca-se refletir acerca do contemporâneo e da contemporaneidade nas análises de críticos e teóricos das artes, do teatro e da literatura. Em um segundo momento, será feita uma apreciação acerca da formação de grupos e companhias no Brasil, com especial atenção àquelas aqui investigadas e suas novas formas de composição: criação coletiva e trabalho colaborativo. Finalmente, a partir da investigação de práticas teatrais recentes das companhias Os Dezequilibrados e Cia. dos Atores, procura-se refletir acerca do que pode ser entendido como teatro contemporâneo e como ele se revela na cena carioca atual. / [en] The aim of this research is to discuss the way in which some theatre companies from Rio de Janeiro fit into the context of the contemporary. In the national and international scene a large number of theatre groups and companies are dedicated to aesthetic experimentation and the dramatic text is stimulus for a free interpretation and for improvisation games which result in more expanded plays. In this context where the dramaturgical writing on stage overlaps the text previously written, the concept of post-modern theatre, as well as post-dramatic theatre, coined by Hans-Thies Lehmann, are contrasted with the concept of performative, as proposed by Erika Fischer-Lichte and Josette Féral. Although these concepts may apply to some performance pieces brought about by this research, they do not account for the whole repertory of these theatrical companies from Rio de Janeiro. Thus, at first, after an examination into the post-dramatic and performative, an investigation concerning the contemporary and contemporaneity is carried out through analysis of Art, Theatre and Literature scholars writings on these issues. Secondly, there will be an appreciation of how theatre groups and companies were formed in Brazil, with special attention paid to those investigated here and their corresponding ways of theatre making: devising and collaborative work. Finally, based on an examination into recent theatrical practices of the companies Os Dezequilibrados and Cia. dos Atores, this investigation aims at reflecting upon what can be understood as contemporary theatre and how it can be perceived in Rio de Janeiro s current stages. / [es] Esta investigación analiza la forma en que algunas companías teatrales de Rio de Janeiro se sitúan en el contexto de lo contemporáneo. En la escena contemporánea nacional e internacional, grupos y companías de teatro vuélvanse a la experimentación estética, mientras el texto dramático sirve como estímulo para la libre interpretación y juegos de improvisación que producen espectáculos más expandidos. En este contexto, la escritura escénica y dramatúrgica se superponen al texto escrito previamente, Así, el concepto de teatro posmoderno y de posdramático, acunado por el teórico Hans- Thies Lehmann, se oponen al concepto de performativo según propuesto por Erika Fischer-Lichte y Josette Féral. Aunque estos conceptos se pueden aplicar a algunos espectáculos examinados en ese estudio, ellos no se aplican a todo el repertorio de las companías de Rio de Janeiro. Además, en primero lugar, después del examen del posdramátic y performativo, se busca reflexionar sobre el contemporáneo y la contemporaneidad en los análisis de críticos y teóricos de las artes, del teatro y de la literatura. En un segundo momento, será hecha una evaluación sobre la formación de grupos y companías en Brasil, con particular atención a aquellas aquí investigadas y sus nuevas formas de composición: creación colectiva y proceso colaborativo. Por fin, a partir de la investigación de las prácticas teatrales recientes de las companías Os Dezequilibrados y Cia. dos Atores, se busca reflexionar acerca de lo que puede entenderse como teatro contemporáneo y como él se revela en la escena actual en Rio de Janeiro.