Teatro de Artaud e mitologia yorubá: influxos Artaudianos como prática cênico-pedagógica

Abstract

Under the sign of a performative writing of f(r)iction (Lyra, 2020), the present work presents us with an unfolding of the master's degree research in arts (Rolin, 2019), with vertical densi- fication in the Artaudian Influxes, authorial methodology at the top of the performing arts, based on two axes that support and feed each other, namely: the metaphorical writings and the theater of contagion by Antonin Artaud (2006; 1995; 1985) and Yo-ruba Mythology, based on wisdom from the Ilê Asè Ogum Alakorô-RJ terreiro with Babalorixá Paulo de Ogum. As cross-sectional studies, it moves, concomitantly, through the analytical psychology of Carl Gustav Jung (1970; 2000; 2014) and the techniques of the APA Actor Research Studio (2021), coordinated by Carlos Simioni (Lume Teatro) and Stephane Brodt ( Amok Theatre). This entire path weaves an alchemical research forged between pedagogical, therapeutic and artistic dimensions, which is intended to be curative, as well as scenic, with two collectives as a space for experimentation: the group Os Inumeráveis, a therapeutic studio in performing arts at the Museu de Imagens do Inconsciente (Museum of Images of the Unconscious) ( MIII); and the collective Afetô, based at Casa Amok, both in Rio de Janeiro. In this investigative process, eighteen scenic-healing precepts of creation were established that make up the Ar- taudian Influences and deepen the researcher's training, woven between the scene and Jungian art therapy. Among ther important theoretical dialogues, throughout the journey, some of the most significant titles are explained: Afrographies of memory (Martins, 1997); To think about the teaching of theater guided by the anima and South of the scene, south of knowledge (Fab- rini, 2016; 2013); Ator, sator, satori: labor, tor-por in the art of personification (Nunes, 2010); Antonin Artaud: ritual theater (Quilici, 2012); Taanteatro: forces and forms (Baiocchi, 2007), methodologically anchored in the experimentation of scenic-pedagogical laboratories with the two collectives mentioned above and taken here as artethnographic fields (Lyra, 2011; 2013)