Juliana Liconti
Juliana Liconti é atriz, performer, produtora cultural e professora. Doutoranda em Artes Cênicas pela Universidade Federal do Estado do Rio de Janeiro (UNIRIO), mestra em teatro pela Universidade do Estado de Santa Catarina (UDESC), bacharela em artes cênicas pela Universidade Estadual do Paraná (UNESPAR) e graduada em comunicação institucional pela Universidade Tecnológica Federal do Paraná (UTFPR). Foi professora substituta nos cursos de bacharelado e licenciatura em artes cênicas na Universidade de Brasília (UnB), onde ministrou disciplinas na área de interpretação teatral. Desde 2012 é membro da plataforma quandonde intervenções urbanas em arte (em letras minúsculas, substantivo comum, ordinário) que atua na zona de tensão artes/cotidiano e já realizou ações em 29 cidades de 10 estados brasileiros. Também é integrante do Grupo Nômade que investiga o Modo Operativo AND, procedimento de improvisação/composição que desloca o protagonismo do sujeito para o acontecimento e ativa uma modulação da atenção para compor com o que se tem a cada situação. Como sócia da Certas Produções Artísticas, pensa a produção cultural como modo de concretizar interesses artísticos, sendo assim, foi curadora e organizadora da Amostra Urbana, mostra de artes cênicas realizada nas ruas de Curitiba.Desde 2012 investiga procedimentos de composição em tempo real para cultivar uma modulação da atenção para compor com o que se tem a cada situação que, além de uma escolha estética, é uma bússola ética para desacostumar o olhar para a vida.
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This performative writing mobilizes, as an artistic position, a notion of cure as care and as a movement. It does that operating a curation of the affections that occurs in the act of looking at/repairing [reparar] what appears in each situation, a perception-action of the affections that composes and recomposes figures of subjectivity in co-breeding relationship with the world. Here the intrinsic relation between creation in art and possibilities of sensitive learning makes itself present, as an ethical-aesthetic-political life, an art of existence. It is a tactic of re-existence which is invented by questioning the modes of operation of the usual logic of debt / doubt and which is established by the subversion of that system in the form of a gift cycle: giving-receiving-giving.
Two writings constitute this text. The first one is colorful, narrates the weaknesses and insecurities of the writing process. The second one is an academic paper that discusses two research practices in art– perfography (perfografia) and situated writing in relation with the Modus Operandi AND. Both have the cartographic attitude – careful perception of processes and openness to embrace events – as a principle of action.
ABSTRACT - A conversation, a sharing of experiences. This is a set of five letters between researchers-artists-teachers. Estela Vale Villegas wrote the first one of them reporting her experience as a teacher-artist in her research of performance pedagogies. The content of her letter evoked a desire for dialogue between other women whose experience was similar. Therefore, Juliana Liconti, Ines Saber and Raquel Purper, willing to write her back, shared their methodologies and the challenges they face in classrooms, at school and at the university. In addition to being researchers-artists-teachers, their interests in the field of performance are intertwined, whether they are thinking about the scene, the teaching-learning experience or the possibilities of academic writing.
Books
com o riso, a gargalhada, o desejo e a potência de agir a partir de perguntas emergentes e desdobramentos em conversa, sem estabelecer de antemão os rumos dessa escrita. Acolhendo a proposição de uma escrita performativa, apresentamos o jogo como possibilidade de partilha e uma relação entre arte e desvio em possíveis
conexões com a produção de vitalidade.
This performative writing mobilizes, as an artistic position, a notion of cure as care and as a movement. It does that operating a curation of the affections that occurs in the act of looking at/repairing [reparar] what appears in each situation, a perception-action of the affections that composes and recomposes figures of subjectivity in co-breeding relationship with the world. Here the intrinsic relation between creation in art and possibilities of sensitive learning makes itself present, as an ethical-aesthetic-political life, an art of existence. It is a tactic of re-existence which is invented by questioning the modes of operation of the usual logic of debt / doubt and which is established by the subversion of that system in the form of a gift cycle: giving-receiving-giving.
Two writings constitute this text. The first one is colorful, narrates the weaknesses and insecurities of the writing process. The second one is an academic paper that discusses two research practices in art– perfography (perfografia) and situated writing in relation with the Modus Operandi AND. Both have the cartographic attitude – careful perception of processes and openness to embrace events – as a principle of action.
ABSTRACT - A conversation, a sharing of experiences. This is a set of five letters between researchers-artists-teachers. Estela Vale Villegas wrote the first one of them reporting her experience as a teacher-artist in her research of performance pedagogies. The content of her letter evoked a desire for dialogue between other women whose experience was similar. Therefore, Juliana Liconti, Ines Saber and Raquel Purper, willing to write her back, shared their methodologies and the challenges they face in classrooms, at school and at the university. In addition to being researchers-artists-teachers, their interests in the field of performance are intertwined, whether they are thinking about the scene, the teaching-learning experience or the possibilities of academic writing.
com o riso, a gargalhada, o desejo e a potência de agir a partir de perguntas emergentes e desdobramentos em conversa, sem estabelecer de antemão os rumos dessa escrita. Acolhendo a proposição de uma escrita performativa, apresentamos o jogo como possibilidade de partilha e uma relação entre arte e desvio em possíveis
conexões com a produção de vitalidade.