We understand that the artist constitutes in itself different corporeities. These bodies are given from various references throughout their formation. The exchanges that occur seem to provide records in our body in multiple experiences in the field of knowledge. What we call a hybrid body is precisely the encounter, the crossing and the complex formation that shapes this artist throughout his or her craft. The research we propose intends to trace this process of artistic training, and it can guide us in our activities as artists, performers and art educators.
For that, we used the hybrid concept offered by Fabiana Monsalu, which proposes to organize and systematize other possibilities in creating the scene from the body of the actor. And, consequently, we try to observe the body conceived from resources stored and constructed by means of essays, exercises, "trainings", readings and by multiple means of fruition of cultural, mediatic and communicational goods, which appear throughout the Training of the artist / educator / researcher. Therefore, the need to review the studies of Grotowski, Eugenio Barba, Antonin Artaud, Rudolph Laban, in the field of the performing arts, as well as Hélio Oiticica, Lygia Clarck, Fayga Ostrower, in the field of the arts. All of these provide us with vast material that we can bring closer to them and install possible dialogues with our concerns and theoretical assumptions.
But we are still trying to broaden the scope of the problem we are presenting. Therefore, we refer to the references of the study of the person in Jung, especially with respect to the persona, the theory of the imaginary proposed by Gilbert Durand and the philosophical reflections of Felix Guatarri and Gilles Deleuze when both argue around the body without organs (CsO). When we refer to the performance, we find important reflections on Roselee Goldberg, Renato Cohen, Jorge Glusberg, Allan Kaprow, John Cage, Jackson Pollok, Marcel Duchamp, Joseph Beuys and Marina Abramovich, as well as the theatrical practices of Ariane Mnouchkine, Bob Wilson and So many others. And finally, in order to extend our gaze to the pedagogical sense of this analysis, we approach Matteo Bonfitto actors and performers investigating the human condition, our perceptions, actions and relations) Jacques Rancière (and his reflection on the emancipated spectator) and Ana Mae Barbosa (when she discusses multiculturalism, pluriculturality and interculturality).
This corporal presence that transits between reality and fiction, which belongs to theatrical and performing natures, becomes the driving force of the actor / artist and the performer in the contemporary world, because it is in her that the new scenic proposals happen, arranging and exposing the body In its increasingly hybrid form. And in the same way, the visual artist who extrapolates his own universe and proposes dialogues, meetings and new forms of expression.
