PERFOMANCE OF ZOÉ DEGANI’S SPACE: SCENOGRAPHY, SIGNS AND FEELINGS, BODI-THINGS AND COUPLING

Abstract

The theatrical space is a potential place to many discourses and artistic languages. The set design, as an authorial practice in the spectacular context, is not limited in illustration or decoration, by its aesthetical incidence over the scene, pluralize the polymorphous dialogue of the scenic event and works as support to sensible and reflexive experience. Supported on the Zoé Degani’s practice to the scene, an artist who Works in the south of Brazil, this propose intend to give examples of how her relation with the space goes over the architectural and pictorial character, invading the social and political territory through aesthetical signs adherence in the scenic space. The methods of analyses are based on genetic critic, historical investigation about artist’s work and by checking motivations and uneasiness that originate such creations under an unmistakable politic character. The expectation is to become clear this expressive zone in the spectacle which, by equipping the stage with gears and concepts, resizes the scene meanings and offer new visions about old themes. The spectator, as being confronted with an incisive aesthetical scene, promoted by this artist, must to operate in an actively way, using post-dramatic characteristics in advanced and renewing Brech’ts theater qualities. The creations detached to analyses makes possible to observe a scenic space that goes forward the stage limits, making the spectators part of it and sharing with them the fact. So that, it’s not the critic distance that scenography operates, but the plastic approach between bodies and space, where all of them are seen as pieces of the game, in this way, an eminently politic opus.