El presente Dossier de Kaylla articula diversas perspectivas y metodologías de investigación que parten de performances y procesos creativos individuales-colectivos. Les artistas-investigadores que aquí reflexionan sobre su trabajo ofrecen nuevos modos de entender la transformación de los espacios que albergan diferentes hechos escénicos, la suspensión del tiempo cotidiano, y la generación de nuevas conexiones identitarias desde la acción colectiva, tanto corporal como sonora. El punto de encuentro de estas propuestas son las preguntas que nos rondan al pensar en espacios colectivos: ¿hasta qué punto las artes escénicas pueden ofrecer una forma diferente de relacionarnos con nuestro entorno, una forma que cuestione la “productividad” deshumanizante del capitalismo neocolonial? ¿Cómo es que la sonoridad puede transportarnos a un espacio-tiempo alternativo que revela la ar...

This article deals with the dialogue and discussion with the performance Insufflation of a Chronic Death by the Women in Quarantine project, São Paulo, Brazil, presented in 2020 during the Covid-19 pandemic. The notions of collectivity and care are highlighted as attributes that, both in art and in life, can contribute by helping us transform pain and think radically about a possible re-existence. Based on counter-hegemonic feminist perspectives and the assessment of one's own experience as knowledge, the author's performance and autobiographical accounts are proposed as micropolitical spaces of resistance and possibility in the face of the situation of precariousness, uncertainty, and violence after the pandemic period in Brazil. Starting from the need to share pain and to collectivize mourning, this creation process is suggested as an anti-capitalist space-time and an enabler of retur...

Eliana Monteiro holds an MA in Performing Arts from Universidad de São Paulo (USP), and she has been Teatro da Vertigem’s director for the past 26 years. She is a theater educator and art/performance festivals curator. Her most recent work as a director includes the following productions: Intervención Florestania, Autoexamen de cuerpo de delito, and Levante, a project about love and resistance in lesbian women’s couples throughout Brazil’s recent history.

This article deals with the dialogue and discussion with the performance Insufflation of a Chronic Death by the Women in Quarantine project, São Paulo, Brazil, presented in 2020 during the Covid-19 pandemic. The notions of collectivity and care are highlighted as attributes that, both in art and in life, can contribute by helping us transform pain and think radically about a possible re-existence. Based on counter-hegemonic feminist perspectives and the assessment of one's own experience as knowledge, the author's performance and autobiographical accounts are proposed as micropolitical spaces of resistance and possibility in the face of the situation of precariousness, uncertainty, and violence after the pandemic period in Brazil. Starting from the need to share pain and to collectivize mourning, this creation process is suggested as an anti-capitalist space-time and an enabler of retur...

Eliana Monteiro holds an MA in Performing Arts from Universidad de São Paulo (USP), and she has been Teatro da Vertigem’s director for the past 26 years. She is a theater educator and art/performance festivals curator. Her most recent work as a director includes the following productions: Intervención Florestania, Autoexamen de cuerpo de delito, and Levante, a project about love and resistance in lesbian women’s couples throughout Brazil’s recent history.

El presente Dossier de Kaylla articula diversas perspectivas y metodologías de investigación que parten de performances y procesos creativos individuales-colectivos. Les artistas-investigadores que aquí reflexionan sobre su trabajo ofrecen nuevos modos de entender la transformación de los espacios que albergan diferentes hechos escénicos, la suspensión del tiempo cotidiano, y la generación de nuevas conexiones identitarias desde la acción colectiva, tanto corporal como sonora. El punto de encuentro de estas propuestas son las preguntas que nos rondan al pensar en espacios colectivos: ¿hasta qué punto las artes escénicas pueden ofrecer una forma diferente de relacionarnos con nuestro entorno, una forma que cuestione la “productividad” deshumanizante del capitalismo neocolonial? ¿Cómo es que la sonoridad puede transportarnos a un espacio-tiempo alternativo que revela la ar...