Abstract
This article examines the three main axes of the creation process of the piece 6...9 ou vice versa, in which two collective creation methodologies were applied: the RSVP cycles, developed by Lawrence and Anna Halprin, and the notion of Transformative mise en scene in Robert Lepage. Both methodologies will be examined in relation to Roberto Alvim's proposal called Dramaticas do Transumano from a gender perspective; specifically, the exploration from the ecriture feminine elaborated by Helene Cixous in The Laugh of the Medusa. A brief descriptive tour of the selected creation methodologies, as well as the main characteristics postulated by Alvim and a reflection on the concept of Cixous is proposed, in order to generate an analysis on the articulation and convergence of these procedures and proposals.
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