The author presents the method of research and creation in dance and theater in Brazil, called Bailarino-Pesquisador-Intérprete (Dancer-Researcher-Performer, BPI), which was created by the author herself. Through field research of ritual and Brazilian popular manifestations the author formulates a proposal for body work. She analyzes dance as an activity in which several bodies are integrated to generate knowledge in the sensitive, the perceptible and human relationships from direct contact with the surrounding reality. BPI aims to build a flexible and individualized body, in which the subject has room to develop. It emphasizes the need for a more responsible contact with certain Brazilian cultural segments so that stereotypes of a dance based on an ethnocentric view are not reinforced.
Crystals in the Mirror
Graziela Rodrigues proposes a search for a gestural reality as an aesthetic proposal within the poetics of a flexible body that is written, musicalized, and understood as a human body.
But not only.
She also proposes the search for a gestural reality in daily life poetry of cracked feet in wild fields, with claws instead of fingers, feet dug in the ground, roots, and solid rocks resembling the souls of women able to go through lost battles without experiencing any defeats. Women who do not have dreams, as they just ignore them, who grab the land, sculpturing boys and girls bathed in the saliva of love. Redeemer’s bellies and feet, recreating the pulse of the people born from starving wolves, floating boas, and who knows what else.
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