Da rosa salta gafanhoto: trânsitos entre kata pessoal e poesia corpórea

Abstract

This is a memorial thesis that was divided into five books, which has as its research space the process of creating the scenic work Da Rosa salta Gafanhoto, assuming it as poetics and research methodology. That transits through the feminine dimension of the Samurai, Geisha and Child Luz inherent to the researcher and its relations with the corporeal poetics of each one of them. The research declares to be the grasshopper that jumps from the rose and assumes as the body of the research this jump that it makes and metamorphoses into the three female figures that appear in the thesis, which are ghosts that orbit the researcher, or cracks through which the creation process spreads. The poetics and methodology used in the research permeates the process of how a straw becomes when it starts to dry, to die, becomes flexible, wraps itself in a flower and jumps in the form of a grasshopper, this was the methodology used. Something that unfolds, but first dries up and goes towards death, is that a methodology of death? Of perishing? A poetics of perishing, a poetic method of work, but what is this? A method of poetic flexibility, which contains personal Kata training, the three maskings. I present as theoretical support the concept of performative research that embraces these propositions for the practical studies carried out and for the construction of the writing that emanates from the practices of the workroom. The performative research here is understood according to the precepts of Brad Haseman (2015). The guiding thread of the research is this flexible poetic methodology - Da Rosa jumps grasshopper -, where the martial artist presents the notion of self-creation, by stating that while she generates the work she experiences a series of questions, the empty places of the martial artist and refinements of coherence with the world and with itself, starting to create itself, thus being a process of reation of the work and self-creation of itself in the face of the differences of itself.