Urdimento: Revista de Estudos em Artes Cênicas
Journal of the Performing Arts linked to the Graduate Program in Theater, at the Arts, Design and Fashion Center of the Santa Catarina State University. ISSN: 2525-5304 Frequency: continuous Year of criation: 1997
Universidade do Estado de Santa Catarina (UDESC)
Copyright Statement The articles published by the magazine are free to use. The copyright is all assigned to the magazine. The articles whose authors are identified represent the expression from the point of view of their authors and not the official position of the journal Urdimento. The author (s) undertakes whenever publishing material relating to the article published in Revista Urdimento mention the said publication as follows: This article was originally published by Urdimento magazine in its volume (put the volume), number (put the number) in the year of (put the year) and can be accessed at: http://www.revistas.udesc.br/index.php/urdimento This work is licensed under a Creative Commons Attribution 4.0 International License.
Sound Labyrinth: a Brazilian actress’s experience in a workshop with Meredith Monk and Ellen Fisher
This article reports the experience of actress and PPGAC/UDESC master’s student Kauana Machado in the workshop “Voice as Practice”, led by Meredith Monk and Ellen Fisher. The four-day artistic residency took place in December 2025 in Garrison, New York (USA). The experience combined meditation, singing, dance, and collective creation dynamics. Written by Machado and Miranda, the text connects the exercise routine to concepts such as “extended vocal technique” and “shadow play,” asking how bodily and vocal experiences shape feelings of community belonging and cultural identity.
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Information about the theatrical production staged in 2025 by students from the Center for the arts at the State University of SC (UDESC). Directed by Tefa Polidoro and Elaine Nascimento.
Information on the content of the Thematic Dossie: Artes vivas e o Antropoceno/Capitaloceno II
Information about the content of the Urdimento, v.1, n. 57, abr. 2026.
In the Expediente we present the Urdimento Editorial, that is, the body of editors, associate editors, thematic dossier editors, editorial board and the body the reviewers working in the issue of Urdimento. We also introduce the editorial support team.
Identity constructions in theatrical improvisation: an analysis of O Machucado de Magnólia
In this paper, we analyze the theatrical performance O Machucado de Magnólia, published on the Barbixas YouTube channel, highlighting how the actors construct the male and female identities of their characters through the dynamics of improvisational theater. We rely particularly on the foundations of improv theater, based on Moscheto and Achatkin; on the tension between mental and perceptual imagery promoted by this form of theater, in dialogue with Bergson, Mitchell, Contrera & Hattori; on the relationship between fiction and non-fiction as discussed by Aranha and Pesavento; and on the notion of Performative Acts by Butler, supported by Louro and Saffioti.
This review examines the work The Art of Theatre, a text by Manuel de Macedo that details the practices and precepts governing theatrical activity in Portugal and Brazil during the second half of the 19th century. It was published as the 44th fascicle of the Biblioteca dos Povos e das Escolas (Library of Peoples and Schools) in 1884, a collection of booklets intended to introduce the reader to a certain universe of knowledge. The current edition, organized by Walter Lima Torres Neto, is complemented by a preface by Guilherme Felipe and an afterword by João Roberto Faria, scholars who situate and clarify the details of the original text for the contemporary reader.
The hereafter text is extracted from Elizabeth Grosz's book Chaos, Territory, Art: Deleuze and the Framing of the Earth (2008). In it, Grosz focuses on the conditions of art's existence as a separation and ordering of compositional planes within chaos imanente on the natural world. Her explorations are guided by the writings of Gilles Deleuze, Félix Guattari, and Luce Irigaray, who propose openings of nature and culture to unrecognized and undetermined forces, emerging from the natural chaos. Grosz understands that such forces can promulgate new ways of conceptualizing politics and the ways in which art and politics can be connected and rethought.
Copyright (c) 2025 Urdimento: Revista de Estudos em Artes Cênicas https://creativecommons.org/licenses/by/4.0
To embody is to repair: lowering countercolonial methodologies from the higher education curriculum in dance
This article presents decolonial methodologies for creation in dance and performance, centered on the urgent needs of racialized bodies from a higher education perspective. In response to the marginalization of Black epistemologies in curricula, it proposes three practical-theoretical axes— Corpo Peça, Utopias de Si, and Corpo Báskula—developed from the author's experience as a Black artist-teacher and in dialogue with thinkers such as Nêgo Bispo, Inaicyra Falcão, Leda Maria Martins, Audre Lorde, and Patricia Hill Collins.
Dossiê Temático: Currículo, Decolonialidade e Formação Docente nas Artes Cênicas
Documentary approach in school: the field of experience [on]stage
This article is the result of a doctoral thesis in Education entitled Documentary Theatre: corners of experience, artistic action in praxis in basic education. It deals with the historical, political and artistic-pedagogical perspectives on Documentary Theater. The study proposes a teaching approach about reality, based on the concept of experience, and proves that Documentary Theater, when addressed in schools, can contribute to the negotiation and (re)creation of Culture by students. Among the results of the research, a curriculum based on non-fiction is born, which can be part of the methodologies chosen by the teacher. This approach reveals new possibilities for teaching theater and teaching in the context of the practices of the Pedagogy of Participation.
Vegetating thought and sensitivity for possible planthroposcenes
This article drew on the sensitive experiences and concepts embodied in the course Ecologies of attention: drifts between sewing and cultivation, taught by professors Virgínia Kastrup (UFRJ) and Mariana Guimarães (CAp-UFRJ) at the Institute of Psychology at UFRJ, during the first semester of 2025. Instigated by Evando Nascimento's work, O pensamento vegetal (2021), and more specifically by the semantics of the verb "to vegetate", the article proposed a positive rehabilitation of the term, countering its colonial meaning, as inspired by Antônio Bispo dos Santos (2023). The article explored how we can learn from and conspire with plants in search of possible planthroposcenes (Myers, 2021).
My body is not one: body, Afro-Brazilian performing arts cultures, and curricular issues
Is it possible to blur the hegemony of the notion of body that governs structures of domination that imply the epistemicide of Black bodily cultures? In various cultural fields, the predominance of a conception of the body primarily oriented by biologizing criteria is observed. However, other foundations have generated notions of bodies, as well as performing arts manifestations, guided by distinct principles such as ancestry and communal life. In this study, analyses of undergraduate theater curricula, a literature review on the Black body and its foundations, and investigations into performing arts experiences that incorporated this perspective of the body in academic spaces were carried out.
Starting from the dialogue between dance pieces and literature works in which there is an intimate relationship between art and life, this essay analyzes some creations that propose an invitation, both to the performer/writer and to the spectator/reader, to the perception of oneself in drift. In his lecture “Poetry and abstract thought”, Paul Valéry suggested the separation between prose and poetry; although, in contemporary, poets and choreographers break this separation by mixing movement and language experiences from both the fields of ordinary life and art. Based on the interest of choreographers in walking as a fundamental experience for dance, we reflect on the presence of prose (and prosaism) in contemporary poetry production.
White top, high heels and the body like an arrow - Interview with Tatiana Cobbett
In this conversation, Tatiana Cobbett shares how her artistic career was built, marked by the interweaving of different artistic languages: dance, music, and theater. She also explains how the idea of ​​creating a show exclusively with women emerged in the 1980s and how she developed the various activities that encompass artistic work, from production to performance "perpetual crochet" that involves sustainability, partnerships, and collaboration. She also discusses her involvement in struggles and initiatives to expand access to culture for all, to guarantee dignity for artists, and to encourage original works, especially those created by women.
Presence and connection based on ‘escuta do olhar’
This work is about the record of an interview given by Profa. Dr. Ana Elvira Wuo, from the Federal University of Uberlândia (UFU). Ana Wuo is an important author and clownesse in the Brazilian context, standing out for her pioneering role in the Performing Arts from the creation of the concept “Clown Visitor”, coined in 1992. She is also a pioneer in academic research carried out by women clowns, a phenomenon which became popular in Brazil only in the 2010s, with Ana Wuo being one of the main references in the area.
Black monologues in schools: Black Theater in teacher education
In this section, we will address the manifestation of black epistemologies in the pedagogical journey of the Solos Negros nas Escolas project (Black Monologues In Schools) in the year 2023, an initiative that aims to value and share the foundations of Law 10.639/03 in Theater Pedagogy. The procedures adopted in this initiative aim at the active participation of students, promoting student leadership in the collective construction of knowledge, in tune with Afro-Brazilian civilizing values. In this way, Solos Negros promotes teacher training that goes beyond the mere reproduction of content, encouraging reflection, creativity and commitment to anti-racist education.
Gaze of IntenCity: memories and images in André Carreira's trajectory
This interview addresses the trajectory of director and professor André Carreira (1960), creator of the ÁHQIS Acting Laboratory (2007). It took place in 2025, in the city of Florianópolis, Santa Catarina. In this meeting, the director spoke about his childhood, his early studies, as well as the beginnings of his life in theater, revealing his artistic influences, particularly the work of the Polish director Tadeusz Kantor. In this interview, Carreira reflected on possible connections between the fields of Theater and Art Direction, taking as reference the experiences carried out at the ÁHQIS Acting Laboratory.
Natassia Duarte Garcia Leite de Oliveira
Race interrogates pedagogical practice: towards an anti-racist education in performing arts classes
The central objective of this article is to reflect on the possibilities an anti-racist education in performing arts classes. Thus, we presented two pedagogical practices developed in basic education that used literature and role-playing games to discuss Blackness, Whiteness, and representation with children aged 9 to 11 from two different social classes. To this end, we employed action research methodological approaches. The study data demonstrated the importance of theater classes as a potentializer of dialogue across differences and how the actions developed could contribute to transformative education.
Playing land, ancestor land: experiences in the Theatre Teacher Education program at URCA
We propose to revisit the teaching-learning experiences carried out within the scope of a curricular component of the Theatre Teacher Education Program at URCA. Taking as epistemological guiding lights the reflections developed by Luiz Rufino (2019) and Luiz Antonio Simas (2019) in the field of decolonial education in recent years, we arrived at two different pedagogical propositions: in one of them, street child plays were adopted as an educational tool to explore the relations between childhoods and the city; in the other one, the contact with a master of popular knowledge unfolded into artistic-pedagogical practices in Theatre. These are the propositions we present and discuss on this occasion.
Conversing with Trees: creation as a cosmopolitical practice
In this article, the creative act is proposed as a communicative exercise in the porosity between the body, the Other, and the Earth. In this scope, creation was investigated as a coextensive cosmopolitical action, a way of weaving conversations with the extra-human, in light of animistic perspectives that, based on other notions of rhythm, produce communicative relationships with otherness. As a space for reflection, trans-specific dialogues were held in the research Conversing with Trees, in which speech was defined as part of a multimodal attention in continuous polyrhythmic flow, in contrast to the cultivation of a frontal and unifocal attention that characterizes anthropocentric forms of communication.
Dossiê Temático: As artes vivas e o Antropoceno/Capitaloceno I
From fracture to religare: Silvestre's technique and eco-poetics of the body in the face of the ecological-colonial crisis
The article analyzed the Silvestre Technique as a dialogical ecopoetics between body, art, and cosmos, highlighting how corporeality acts as memory, territory, and possibility. It investigated the relationship between body, culture, and nature in the face of the Anthropocene and Capitalocene, showing that African, Afro-diasporic, and indigenous knowledge stand out as ancestral responses to contemporary questions. The research highlighted that the arts not only express culture, but also actively participate in the formation of cosmoperceptions and civilizational values. Thus, the living arts are pointed out as laboratories of resistance and devices for building sustainable, ethical, and interdependent worlds.
Dreams as territories of learning: experiences from the Nasa people and the Cauca context
This paper discusses how dreams are presented to the Nasa indigenous peoples, seeking to share how certain social and economic dynamics established in the department of Cauca have affected the lives of these populations. In this context, dreams are recognized as zones of resistance that are linked to their own autonomous education systems. The potential of cultivating collective dreams also served as inspiration for the formation of the Study Group on Dreams for Indigenous Peoples in Latin America.
Iyá Mìn: resistance processes based on the ancestral knowledge of the Yabás in the Boca 07 Collective
The article presents Afro-referenced approaches to the processes of creation, resistance, and identity affirmation of the Boca 07 Collective. Based on Afro-Brazilian dances and the ancestral knowledge of the Yabás, the collective built an artistic practice that challenges religious racism, intolerance, and institutional erasure, articulating art and spirituality as forms of resistance. From an autoethnographic and performative methodological perspective, the research proposed a reflection on the body as a territory of memory, ritual, and insurgency, in dialogue with Afro-diasporic and decolonial epistemologies in the Undergraduate Program in Dance.
Pedagogies magnetized by decolonial feminism in Higher Education: Study and Creation in Performing Arts
The alliance between feminist, decolonial, and anti-racist perspectives has enabled pedagogical experiments in Higher Education that, considering the intersectionality of social markers (race, gender etc.) and the effects of the coloniality of being and knowledge, transform ways of teaching and learning. Based on debates from the Seminar Curriculum, Decoloniality, and Teacher Education at the Federal University of the State of Rio de Janeiro in 2024, and on the analysis of teaching in Performing Arts courses, using theoretical foundations and concrete methodological examples, this reflection addresses the production of embodied knowledge that seeks to re-enchant classroom practices.
Emaranhada: scenes with trash and garbabe in the state of Rio de Janeiro
The article weaves a critique of modern separability, drawing from Karen Barad and Denise Ferreira da Silva. It proposes a relational aesthetic-politics, understanding the phenomena between matters as a fundamental dimension – the invitation is to unleash the creative capacity of imagination beyond separation. This debate materializes itself in Emaranhada, a project that involved artists, waste pickers, biologists, educators, fishers and crab gatherers. Examining the relational aesthetics proposed by Nicolas Bourriaud, and its critique made by Claire Bishop, the article also shares recent interinstitutional actions by Eleonora Fabião to consider, along with André Lepecki, a poetics of proliferation.
Ecosomatics: reflections on ecological practices in the face of the socio-environmental challenges of the Anthropocene
This essay aims to reflect on the need to rethink curricula, methodological approaches, teaching plans, and training spaces in the body arts in light of the socio-environmental challenges present in the era we live in, the Anthropocene, bringing ecosomatics into the debate: a set of ecological practices that aims to create engaged and responsive thoughts/actions.
Theater, racism and identity: the colonial influence over the Brazilian artistic field until the 20th century
The article investigated the historical roots of the predominance of foreign cultural productions in Brazil, analyzing how colonization and European and North American influence shaped the artistic production of the country’s theatrical scene until the 20th century. From the Jesuit drama to the creation of the UFBA Theater School, the research analyzed how the undervaluing of the national scenario and the overvaluing of the foreign one consolidated the so-called "mongrel complex", in which the devaluation of indigenous and African cultures was a central theme, highlighting the need to recognize and value Brazilian cultural diversity in order to overcome its colonial heritage.
Traditional Cultural Expressions and Free, Prior, and Informed Consent in the Performing Arts
This article analyzes the appropriation of Indigenous cultural expressions in the performing arts and proposes free, prior, and informed consent to decolonize this reality. Through qualitative documentary analysis, academic and legal production was examined. The results offer protocols to apply consent in training and performance production, detailing phases for an ethical and fair dialogue. It is concluded that consent is a political framework that reconfigures power. Despite challenges like asymmetries, its adoption is a pedagogical act that enriches artistic practice with justice, advancing towards decolonization.
On the banks of the Watu River: a process of imaginary creation between the photographer and the pernalta
From the field of interarts, this article reveals the poetic and artistic creation process of the photo-performance Watu conta contos. Through the philosophy of the imaginary (Bachelard, 2018; Durand, 1993; Ferreira-Santos; Almeida, 2020), the poetics of space (Bachelard, 2003; Certeau, 2025), and indigenous worldviews on orality/writing (Kopenawa, 2010; Krenak, 2020a, 2020b; Jecupé, 2023), the investigation aimed to promote new images and dialogues for the landscape of the Watu River, located in the municipality of Colatina-ES. To this end, the writing undertaken presents the work's setting, the creative process of the photo-performance, and the captured images.
Ecocritical intersections in Argentine dramaturgy (1983-2008): regional maps, water and otherness
This article analyzes representations of water and its intersection with figures of historical otherness observable in Argentine dramaturgy from the northern and southern regions of the country during the period 1983–2008. To develop this poetic analysis, the study draws on the theoretical and methodological orientations of ecocriticism, applied to a specific case study. The results obtained allow us to recognize and examine the topics, procedures, and intellectual positions that challenge essentialist and homogenizing ideas about the interior-other, based on the environmental conceptions specific to each territory.