Autoethnographic (D)escriptions: performance in dialogue with anthropological research approaches

Luciane Moreau Coccaro

doi:10.1590/2237-2660102509

Abstract

ABSTRACT The goal of this article is to develop the notion of sensory autoethnographic (d)escription to experience possibilities of making the scene present through writing. The article draws on anthropology of art and performance studies to analyze three poetic writings and the mediated senses based on the experience of seeing the shows Caprichosa voz que vem do pensamento, by Aderbal Freire Filho, Maria Alice Poppe and Tato Taborda, Casa de especiarias, by Terpsí Teatro de Dança, directed by Carlota Albuquerque, and a dance video by the dancer Marcela Reichelt. It is concluded that autoethnographic (d)escription as a writing genre is a means of making the scene present and illustrates new perspectives in which the personal experience is inscribed.

Highlights

This article addresses the subject of sensory writing from the point of view of the audience
I share three autoethnographic (d)escriptions written in 2013 while seeing two shows and a dance video that prompted accounts based on my somatic reactions
That kind of investigation is close to the goal of this article, with one proviso: the texts contain descriptive aspects to make the memory of the scene present in writing, they are testimonies in the form of dialogue with and feedback to the dancers-creators

Summary

PERFORMANCE AND ANTHROPOLOGY

Autoethnographic (D)escriptions: performance in dialogue with anthropological research approaches. The article draws on anthropology of art and performance studies to analyze three poetic writings and the mediated senses based on the experience of seeing the shows Caprichosa voz que vem do pensamento, by Aderbal Freire Filho, Maria Alice Poppe and Tato Taborda, Casa de especiarias, by Terpsí Teatro de Dança, directed by Carlota Albuquerque, and a dance video by the dancer Marcela Reichelt. L'approche de l'anthropologie de l'art et des études de la performance est utilisée dans l'analyse de trois écrits poétiques et des sens agenciés à partir de l'expérience dans le public des spectacles Caprichosa voz que vem do pensamento d'Aderbal Freire Filho, Maria Alice Poppe et Tato Taborda, Casa de especiarias de la Terpsí Teatro de Dança dirigée par Carlota Albuquerque et une vidéo de danse de la danseuse Marcela Reichelt.

Introduction

Traversals and Routes

Impressions for Marcela Reichelt

To an Exquisite Voice Traversed by So Many Thoughts

Two Nights at the Spice House

Conclusions