Antídoto e método: práticas de investigação artística em contexto coreográfico

Abstract

Since 1999 I’ve been following João Fiadeiro’s work with some attention. Sharing his processes of research with several colleagues, collaborators, artists, research‑ ers, Fiadeiro has been able to produce myriads of questions under the umbrella of Real Time Composition (CTR). As I could explore some of these questions in workshops with Fiadeiro and his collaborators (first as a dance student, and later as an artist and researcher, 1999‑2018), I ended up using them and exploring them further in my PhD dissertation Body, Image, and Choreographic Thinking (2016). A great portion of the present paper was written between 2012 and 2015 as part of this larger research project.1 Several research practices – such as Fiadeiro’s CTR, Lisa Nelson’s Tuning Scores, Mark Tompkins’ Real Time Composition; Modus Operandi AND, or the Guest‑Host (G.HOST) game practice, organized by Eugénio and Fiadeiro, among many – present ways to articulate strategies in order to create new meanings and to think with and about ways of acting‑thinking. This paper tries to enhance the capacity that some of these practices have in themselves, and in the speech they produce, to generate the possibility of an antidote for each proposition (i.e. the possibility to escape dogmatic tendencies that methods in general reveal).