- Collaborator Doctor
Faculdade de Motricidade Humana | Universidade de Lisboa
Estrada da Costa
1499-002 Cruz Quebrada - Dafundo
- Tel: (+351) 21 414 9179
BiographyThaís Gonçalves holds a Ph.D., in co-guardianship, in the Human Motricity Branch in the Specialty of Dance, from the Faculty of Human Motricity of the Universidade de Lisboa (FMH/UL), and in Arts of the Scene, from the Post-Graduate Program in Arts of the Scene at the Universidade Estadual de Campinas (PPGADC/UNICAMP), with the research “Anthropophagic sensorialities: knowledge of the South in contemporary dance". Master in Public Policy and Society, by the Department of Sociology at the Universidade Estadual do Ceará (UECE). Graduated in Dance from the Universidade Estadual de Campinas (UNICAMP, Bachelor and Licentiate) and in Journalism from the Pontifícia Universidade Católica de Campinas (PUCCAMP). Adjunct Professor of the Bachelor and Licentiate in Dance and the Professional Master's Degree in Arts (ProfArtes) from the Institute of Culture and Art of the Universidade Federal do Ceará (ICA/UFC), in the field of Dance Techniques and Practices. She researches the following themes: dance and education, philosophy and history of dance, creation processes and anthropophagy in the performing arts. Among recent publications are the following articles: "Frictions, Fissures or overflows of language in the arts?" in Revista Linha Mestra/UNICAMP (2019) and “Blows of invisibility in the arts of the body: anthropophagic modes of creation” in Monica Toledo Silva (Org.) (2019). Since 2021, he has collaborated on the Editorial Board of Revista Conceição/Conception of the Post Graduate Program in Performing Arts at UNICAMP and, between 2014 and 2020, was part of the Editorial Board of the Revista aSPAs, of the Post Graduate Program in Performing Arts at Universidade de São Paulo (USP). She coordinated the Extension Project Memória Viva: histórias da dança do Ceará (Living Memory: stories of dance from Ceará), by the Universidade Federal do Ceará, with the production of four documentaries around artists and teachers of dance (2012/2013). She edited and wrote texts in the two volumes released by the magazine OlharCE, published by the Bienal Internacional de Dança do Ceará (2008 and 2011), available in the digital version olharce.com.PhD ThesisAnthropophagic sensorialities: knowledge of the South in contemporary danceAbstract
Bodies strange, distorted, disfigured, disjointed. What to do when a logic of sensation is imposed and subverts bodies, processes of creation in dance and choreographic strategies? How to compose in states of vibration, spasms, prolonged pauses, tremors and gestures that simply insist on moving in a certain way? By bringing out from the sensations textures of movement, taken from previous themes, ideas, techniques and scripts, the choreographer and dancer Juliana Moraes had her procedures challenged in the elaboration of the choreographic series Peças curtas para desesquecer (Companhia Perdida) and the solo Desmonte. Such mobilizations of the body emerged in the experiments with materials inspired in the relational objects of Lygia Clark, in laboratory ministered by the artist Ana Terra. Ordinary objects, without semiotic appeal, generated a disassociated dance of images. With the research methodology of the actor Gustavo Sol, such materials were formalized by maintaining the vibration power of the bodies in states of poetic presence, in which the attention has a choreographic dimension. Dance in act. Logic of the propositions of Lygia Clark and Hélio Oiticica, who in the 1960s broke with visual art supports and, inspired by Oswald de Andrade, established an anthropophagic mode of creation. Anthropophagy as procedure. Shifting the question what is to what can be done with sensoriality, we investigated the modes of creation and the writings of Juliana Moraes and five other creators in dance and theater - Mariana Muniz, Jussara Miller, Luis Ferron, Renato Ferracini, Carlos Simioni and Gustavo Sol. What do these artists devour? What bridges do they construct between visible and invisible worlds? Would they be permeated with the principles of indigenous cosmogonies, the knowledge of/in the body, of a performativity? In a cauldron, around the anthropophagic sensorialities, artists, boil artists, shamans and thinkers, from Deleuze, José Gil, Steve Paxton, Anna Halprin, Hubert Godard, Antonin Artaud, Oswald de Andrade and Viveiros de Castro, among others.
Research Group: Dance Studies