Travessias e atravessamentos: devir autopoiético de uma produtora cultural imbricada no trajeto criador do Grupo de Teatro Palha-PA

Abstract

Based on a poetic writing based on a narrative of itself, taking into consideration the process of knowing, knowing myself, placing myself as an observer observing and observing, implying me in the production of meanings in this investigation. Work is done under two optics of transformation, the first concerns personal transformation, Self / Self, triggering my affective memories, so that I can reflect on the actual changes I have undergone, as a permanent movement through which I have been able to recreate myself, transforming myself and changing me. The second concerns my participation in the Palha Theater Group, as a producer that links the Group to the market. As a "person" member of the group and participant in the entire creative process, contributing with the actions of strategies to achieve the same poetics, going beyond the logic of the art of merchandise to art with significance. The research brings to the light of knowledge the transforming importance of the Arts in the subjects. It analyzes the contributions on the interfaces of areas of knowledge and professional knowledge, from the scope of Art and from other formations, such as economics and cultural production. This professional as an integral part of the Group, which develops with its members, collectivized activities for the realization of the Group's artistic achievements, contextualizing the unfolding as a cultural producer imbricated in the creative poetry of the Palha Theater Group, mapping its poetic production in the period from 2002 to 2016 The course adopted in this writing places the Palha Theater Group as the background of my research, while at the same time dialoguing with my maturation course of making myself or forging a cultural producer, considering as an investigative question in this process the following question: is it possible to claim a greater value of inventive life from my autopoietic becoming as a cultural producer? To what extent can this redetermination course, as subject-researcher, be dimensioned by the affective crossings and states in this autopoietic becoming? To follow my writing in the search for answers to these questions I call: Humberto Maturana (1997, 2014) from the concept of Autopoieses, or the capacity that living beings possess in self (re) construct, from the external conditions that are submitted, placing me in the condition of "being alive" in a continuous process of structural coupling; Maurice Merleau-Ponty and the phenomenology of perception to understand my history, my essence, aware that all problems are summed up in defining essences: the essence of perception, the essence of consciousness; and Gaston Bachelard (1988, 1989, 1994, 1997) to discuss my experience with the sensitive world that led me to the world of daydreams. Bringing as a propositional writing of this dissertation the concept of "value of inventive life" of a cultural producer imbricated in the creative process of the Palha Theater Group.