Abordagens à cena inclusiva : princípios norteadores para uma prática cênica acessível

Abstract

A presente investigação está inserida no campo dos estudos dos processos de criação cênica, tendo por objetivo central a identificação de princípios de base para práticas cênicas que possibilitem a interação de artistas/jogadores com e sem deficiência física. A pesquisa acolhe três problemáticas: primeiro, as peculiaridades de uma cena efetivamente inclusiva do ponto de vista da presença da pessoa com deficiência; segundo, os princípios norteadores de processos formativos para essa mesma cena; e terceiro, a natureza das relações profissionais e éticas nesses processos. Para seu desenvolvimento, a pesquisa se cerca de referenciais artísticos e teóricos bem como de investigação empírica com um grupo formado por pessoas com e sem deficiência. No que diz respeito aos referenciais teóricos destacam-se estudos das artistas e pesquisadoras Albright (1997; 2013), Johnston (2012; 2016) e Kuppers (2005; 2007; 2011; 2014). De modo a efetivar uma prática cênica acessível, o estudo defende a necessidade de transgressão da construção social da deficiência em três aspectos, rompendo os padrões relativos ao ver, ao fazer e ao conviver. Toma-se como pressuposto à cena inclusiva a promoção dos colaboradores a agentes efetivos da criação, apresentando transformações que desestabilizem modos de ver e de fazer nas artes cênicas a partir do reconhecimento da construção social da deficiência e da abertura à inventividade e aos saberes artesanais; bem como nos modos de conviver, a partir da articulação de coletivos híbridos, que aproximam as pessoas com e sem deficiência, em modos de trabalho que prezam pela visibilidade de todas as etapas do processo criativo e pela participação do coletivo nas decisões.

The present research is in the field of practice based research, with the central objective of identifying basic principles for scenic practices that allow the interaction of artists/players with and without physical disabilities. The research addresses three issues: first, the peculiarities of an effectively inclusive scene from the point of view of the presence of the disabled person; second, the guiding principles of formative processes for the same scene; and third, the nature of professional and ethical relationships in these processes. For its development, the research focuses on artistic and theoretical references as well as empirical research with a group of people with and without disabilities. Regarding the theoretical references, we highlight studies by the artists and researchers Albright (1997; 2013), Johnston (2012; 2016) and Kuppers (2005; 2007; 2011; 2014). In order to carry out an accessible scenic practice, the study defends the need to transgress the social construction of disability in three aspects, breaking the patterns related to seeing, doing and living together. It is assumed to the inclusive scene the promotion of participants to effective agents of creation, presenting transformations that destabilize ways of seeing and doing in the arts of the scene from the recognition of the social construction of disability and openness to inventiveness and craft knowledge; as well as in the way of living together, through the articulation of hybrid collectives that bring people with and without disabilities into work modes that value the visibility of all stages of the creative process and the participation of the collective in decisions.

La présente recherche s’inscrit dans le cadre des études des processus de création scéniques, ayant pour objectif principal d'identifier les principes de base des pratiques qui permettent l’interaction des artistes/joueurs avec ou sans handicap physique. La recherche aborde trois questions: premièrement, les particularités d’une scène effectivement inclusive du point de vue de la présence de la personne handicapée; deuxièmement, les principes directeurs des processus de formation pour la même scène; et troisièmement, la nature des relations professionnelles et éthiques dans ces processus. Pour son développement, la recherche se concentre sur des références artistiques et théoriques ainsi que sur des recherches empiriques avec un groupe de personnes handicapées et non handicapées. En ce qui concerne les références théoriques, nous mettons en évidence les études réalisées par les artistes et chercheurs Albright (1997; 2013), Johnston (2012; 2016) et Kuppers (2005; 2007; 2011; 2014). In order to carry out an accessible scenic practice, the study defends the need to transgress the social construction of disability in three aspects, breaking the patterns related to seeing, doing and living together. It is assumed to the inclusive scene the promotion of participants to effective agents of creation, presenting transformations that destabilize ways of seeing and doing in the arts of the scene from the recognition of the social construction of disability and openness to inventiveness and craft knowledge; as well as in the way of living together, through the articulation of hybrid collectives that bring people with and without disabilities into work modes that value the visibility of all stages of the creative process and the participation of the collective in decisions.