Zoe: Threatened common life
In 2017, the dance performance Zoe, directed by the choreographer Francini Barros, was censored, because its first scene had a naked performer, on the sidewalk of the Apolo Theater in Recife. The fact provoked a reflection on art as a mechanism to establish a utopia against neoliberal conservatism....
| Autores: | , |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Revista Brasileira de Estudos da Presença |
| Idioma: | inglés |
| OAI Identifier: | oai:seer.ufrgs.br:article/89870 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/presenca/article/view/89870 |
| Access Level: | acceso abierto |
| Palabra clave: | zoé utopian body heterotopia culture subjectivity. Censura sofrida pelo espetáculo Zoe |
| Sumario: | In 2017, the dance performance Zoe, directed by the choreographer Francini Barros, was censored, because its first scene had a naked performer, on the sidewalk of the Apolo Theater in Recife. The fact provoked a reflection on art as a mechanism to establish a utopia against neoliberal conservatism. The present paper aims at understanding how the creative processes of the performance Zoe are placed as a micropolitical strategy of resistance to this conservatism. In order to do so, we dialogue with Agamben, Foucault, Deleuze, Guattari and Rolnik to discuss categories that served as a basis for our argumentative line, like ordinary life (zoé), utopian body, heterotopia, culture and subjectivity. |
|---|