PUBLICATIONS

“The body-as-a-home: re-imagining the sense of belonging to the environment” challenges the idea of seeking home (oikos) outside the body, suggesting that the body itself is a home. This ecological concept of the body-as-home is based on the works of Lygia Clark and autoethnographic reflection—particularly through somatic practices such as the Klein Technique™—using Rosi Braidotti's nomadic thinking to emphasize the balance between movement and grounding. The article introduces eco-somatics, relating body awareness to sustainable and empathetic relationships with the world, and advocating a more ecological and socially conscious approach to embodiment.

In this text, I intend to address the issue of memory as the central axis of Rodrigues' work, articulating it with forgetting and the denial of history. This articulation leads to the notions of "without memory" and "discursive memory" (Robin/Paveau, 2013). *Fúria* speaks bluntly of the memory of a country that cultivates, documents, and reflects on its history, based on a dramaturgical construction that shows the tensions that emerge from this absence. Violence, loneliness, fear, oppression, prejudice, racism, beauty, seduction, complicity, and trust emerge on stage in a historical journey. Epic construction and dismantling of a parade: the work creates metaphorical images in a kind of hallucinatory spiral. The spectacle, as its title suggests, exposes the numerous wounds of a society at risk. Here we can perceive all the characters in this story—past, present, and potential future—so forgotten and neglected. Noble European colonists, slaves, mythological images, politicians, homeless people, prostitutes, references to money, power, and sex. Although Fúria paints a merciless portrait of the current moment in Brazil, it seems evident that it is not only talking about this South American society, but about an entire Western capitalist society in deep crisis and on urgent alert.

Reflecting on a specific creative process that generated a work entitled Corrupted Words is the primary objective of this text. But upon entering the territory of creative processes through the exercise of writing, seen here as a procedure for expanding perception, a slippage, an act of retreat, becomes inevitable. Retreating in this case is not only to "see better," but above all to seek to suspend our own assumptions. Thus, the act of writing in flux is not dissociated here from the field under investigation, taking the form of a creation itself, where "talking about" also becomes "talking through," simultaneously. The closing of the framework that surrounds the material proposed here requires further consideration: this is a two-handed writing – one of the voices marked by the use of italics – and therefore, two points of view, two logics intertwined at specific moments in this article/essay.

Choreographic Haikus: One Year, Five Seasons is an artistic and theoretical investigation I developed as part of my postdoctoral research at ECA-USP. The project proposes an approach that connects the poetic structure of haiku with contemporary dance creation, exploring synthesis, attention to the present moment, and a sensitive relationship with nature as compositional principles.

Inspired by the logic of haiku—a brief form that captures ephemeral moments and states of perception—I develop choreographic practices based on listening to the body, time, and the environment. The notion of "five seasons" expands the traditional division of the year, incorporating transitions and intermediate states as creative material, emphasizing processes of continuous transformation.

Throughout the work, I understand the body as a territory of experience and perception, capable of translating subtle variations in rhythm, intensity, and presence. My research articulates somatic practices, improvisation, and composition, proposing a dance that is constructed from attention to detail and the relationship between interiority and the world.

More than a collection of choreographies, the project is configured as a way of thinking about and practicing dance, where gesture emerges as a poetic event. Fragmented temporality, economy of movement, and openness to chance become central elements in the creation, bringing dance and poetry closer together in the same sensitive logic.

Cia Carne Agonizante — 21 Years of Dance: No Time to Be Afraid revisits the trajectory of more than two decades of the Brazilian contemporary dance company directed by Sandro Borelli. The work articulates memory, critical reflection, and artistic analysis to reveal the construction of an intense choreographic language, marked by physicality, expressiveness, and existential themes.

Throughout the book, the creative processes, the relationship between body and dramaturgy, and the challenges of independent production in the context of contemporary dance in Brazil are explored. More than a historical record, the publication affirms the resilience of artistic practice and the commitment to continuous creation—even in the face of adversity.

This text presents a sensitive reflection on the impact of Laura Samy's solo performance, Dança Macabra, articulating personal memory, an analysis of her artistic trajectory, and the political and cultural context of the city of São Paulo. The author follows the dancer's journey from classical training to maturity in contemporary dance, highlighting her creative autonomy in simultaneously assuming the roles of performer, choreographer, and director. Inspired by historical images of the dance of death, the performance is paradoxically interpreted as an affirmation of life, delicacy, and poetic depth. By relating the work to the collective act of resistance by artists in the face of budget cuts for culture, the text broadens the meaning of dance as a practice of thought, presence, and struggle, affirming it as a continuous gesture of reinvention and survival.

In the article "Trisha Brown: Islands of Meaning," Gisela Dória analyzes the choreographic revolution of the postmodern artist, focusing on the deconstruction of movement through improvisation and the physics of everyday life. The text highlights how Brown constructed "islands of meaning" by seeking movements that escaped intellectualization, basing them on bodily mechanics and interaction with the environment.

This article proposes an investigation into the specificities that emerge from the relationship between contemporary dance and different notions of dramaturgy. The aim is to problematize and broaden the notion of scenic dramaturgy. The investigative process involves a critical examination of various dramaturgies currently in use in the performing arts, in order to verify their levels of tension in relation to contemporary dance. In this way, it seeks to understand to what extent contemporary dance is opening space for the reinvention of the notion of dramaturgy and how it is related to modes of composition and production of meaning.

This thesis proposes an investigation into the specificities that emerge from the relationship between contemporary dance and different notions of dramaturgy. The aim is to problematize and broaden the notion of scenic dramaturgy. The investigative process involves a critical examination of current dramaturgies in the performing arts, in order to assess their levels of tension in relation to contemporary dance. In this way, it seeks to understand to what extent contemporary dance is opening space for the reinvention of the notion of dramaturgy and how it is related to modes of composition and meaning production. Three case studies were selected to facilitate the development of this thesis: L’Après-midi d’un faune (1912), by Vaslav Nijinsky; The Kafka Trilogy, composed of three performances by Sandro Borelli, namely: Metamorphosis (2002), The Trial (2003) and Letter to the Father (2006); And finally, Man Walking Down the Side of a Building (1970) and Primary Accumulation (1973), both by Trisha Brown. All of these cases served as generating matrices for a wide spectrum of dramaturgical aspects, principles, and procedures.

In the chapter “A Choreographic-Mythological Experience,” I investigate the presence of myth as an active element in the creative processes of contemporary dance. I propose that myth should not be understood merely as a symbolic narrative of the past, but as a living force that can be incorporated into the body and actualized through choreographic experience.

Through the articulation between artistic practice and theoretical reflection, the text explores how mythical symbols and imaginaries emerge in movement, influencing the dramaturgical construction and the expressiveness of the body on stage. The creative process is presented as a space for sensitive experimentation, where the performer's body functions as a mediator between cultural memory, imagination, and presence.

By bringing myth and choreographic practice closer together, I also highlight the potential of contemporary dance to reinvent symbolic meanings and produce experiences that connect individual and collective dimensions, tradition and contemporaneity.

In *The Poetics of Non-Place: Towards a Theatricality in Dance*, I propose an in-depth reflection on the modes of meaning construction in contemporary dance, taking as its central axis the analysis of the performance “No Place,” by the Primeiro Ato group. The work starts from the idea of “non-place” as an unstable and transitory territory, where identities, narratives, and forms are constantly shifting, opening space for new possibilities of creation and perception.

Throughout the book, I articulate theory and practice to investigate how theatricality manifests itself in dance not as an external element or traditional narrative, but as an immanent quality of the moving body. In this context, the performer's body assumes a central role as a producer of meanings, operating between physical presence, imagination, and symbolic construction.

The analysis of the performance's creative process reveals the complexity of the relationships between movement, space, time, and dramaturgy. I highlight how the scene is constructed from sensitive and non-linear layers, in which gestures, actions, and atmospheres are organized in an open way, inviting the spectator to an active interpretative experience. The book also engages with the broader context of Brazilian contemporary dance, situating Primeiro Ato's work within an artistic field marked by experimentation, the hybridization of languages, and the search for new forms of expression. In this sense, the notion of "no-place" transcends the analyzed performance and becomes a conceptual key to understanding the very condition of contemporary dance.

More than an analysis of a work, I propose a critical and sensitive approach to artistic creation, highlighting dance as a space of tension between the visible and the invisible, the concrete and the imaginary. By emphasizing theatricality as a constitutive dimension of dance, I contribute to broadening the ways of understanding the body on stage and the processes of meaning-making in contemporary art.

This article explores aspects related to dramaturgy in contemporary dance, focusing on three works by the São Paulo-based choreographer Sandro Borelli. In his extensive dialogue with Kafka's work, Borelli has brought to the stage six choreographies inspired by original texts. This analysis is based on the Kafka Trilogy, composed of choreographies inspired by the homonymous works: Metamorphosis, Letter to the Father, and The Trial.

The text suggests that the object, by imposing rules on the body, does not limit it, but paradoxically acts as a liberating element, offering creative resources that expand its possibilities on stage.