Produção de imagens na perfomance do êxtase: zonas limiares entre o sagrado e o profano, à mestiçagem antropófaga do Teat(r)o Oficina

Abstract

Reminiscences of the origin of art, deeply linked to the production of sacred images, when mythologies and cosmologies projected the construction of reality and culture, is the main starting point of this research, which suggests to analyze creative processes in art, including the use of psychoactives promoting a performance of ecstasy.For that, this work draws on a historical background that goes back to the ancient Greek archaic rituals, the shamanic rites and the sacred performances of the Huni Kuin ethnicity, finally reaching the empirical manifestations of the expanded body in the counterculture in the 1960s.In this context, approximations and distances are considered between the performance of the ecstasy and scenic practice of Teatro Oficina, from São Paulo, with its non-dualistic and integrative conception between the sacred and the profane, inside and outside the scene.From interviews with its director, José Celso Martinez Corrêa, and with some of its actors, this study highlights that the production of images from ecstatic performance occurs in that theater in a double way: it reflects both aesthetics in the objective world, reaping political, social and architectural aspects, as it integrates with the dimension of the imaginary.In this sense, the production of images through the use of psychoactives, both in the cultural and religious context, as well as in the artistic and teat(r)al performance of the Teatro Oficina is based on a flow of objective and subjective experiences, which produces new meanings of art throughout decades.