Conversación con mi sombra: la performance comme méthodologie autopoïétique
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CONVERSACIÓN CON MI SOMBRA: la performance comme méthodologie autopoïétique RésuméCet article s’inscrit dans la lignée des travaux de recherche menés par le laboratoire LLA-CREATIS de l’Université Toulouse - Jean Jaurès sur les productions artistiques contemporaines, caractérisées par leur hybridation formelle et leur fluidité pragmatique, jouant avec l’activité fictionnalisante d’un récepteur à la recherche de sens (dans toutes les acceptions du terme). En suivant le concept de "virage performatif" théorisé par Erika Fisher-Lichte, et en prolongeant les réflexions menées par la Critique des Dispositifs (Ortel, Lojkine, Rykner), qui postulent une subversion de la hiérarchie sémiologique/performatif, nous nous proposons d’analyser une performance intitulée "Conversación con mi sombra" ("Conversation avec mon ombre"), présentée actuellement par un collectif de jeunes universitaires colombiens: le groupe Pasarela. Nous observerons en particulier dans quelle mesure l’expérience partagée par les auteurs/acteurs et le public participe d’une certaine forme d’autopoïèse (Maturana et Varela, 1980) et comment opère son pouvoir transformateur et réparateur dans le contexte particulier de la crise colombienne actuelle, mais aussi, plus largement, dans celui de la crise du monde contemporain.Mots clés: performance, groupe pasarela, autopoïèse, corps, arts, ré-existence. CONVERSACIÓN CON MI SOMBRA: la performance como metodología autopoiéticaResumenEsta comunicación se inscribe en la línea de los trabajos de investigación llevados a cabo por el laboratorio LLA-CREATIS de la Universidad Toulouse - Jean Jaurès sobre las producciones artísticas contemporáneas caracterizadas por su hibridación formal y su fluidez pragmática, que juegan con la actividad ficcionalizante de un receptor en búsqueda de sentidos (en todas las acepciones del término). Siguiendo el concepto de giro performativo teorizado por Erika Fisher-Lichte y prolongando las reflexiones llevadas a cabo por la Crítica de los dispositivos (Ortel, Lojkine, Rykner) que postulan una subversión de la jerarquía semiológico/performático, nos proponemos analizar una performance titulada "Conversación con mi sombra", desarrollada actualmente por un colectivo de jóvenes universitarios colombianos: el Grupo Pasarela. En particular observaremos en qué la experiencia compartida por los autores/actores y el público participa de cierta forma de autopoiésis (Maturana y Varela, 1980) mediante su poder transformador y reparador en el contexto restringido de la crisis colombiana actual, pero también, ampliamente, en el de la crisis del mundo contemporáneo.Palabras clave: performance, grupo pasarela, autopoiésis, cuerpos, artes, re-existencia. CONVERSACIÓN CON MI SOMBRA: performance as an autopoietic methodologyAbstractThis article is part of the tradition of research conducted by the LLA-CREATIS Laboratory of the Université Toulouse-Jean Jaurès on the subject of contemporary artistic productions, characterized by formal hybridization and pragmatic fluidity, playing with the fictionalizing activity of a receiver who is looking for sens (es). By following the concept of "performative turn" theorized by Erika Fisher-Lichte, and by extending the reflections carried out by the Critique of Devices (Ortel, Lojkine, Rykner) which postulate a subversion of the semiological/performative hierarchy, we propose the analysis of a performance entitled, "Conversación con mi sombra” (Conversation with my Shadow), currently being presented by a collective of young Colombian university students called Pasarela. In particular we observe to what extent the experience shared by the authors/actors and the public participate in a sort of autopoiesis (Maturana and Varela, 1980) and how its transformative and restorative power operates in the specific context of the current Colombian crisis, but also, more broadly, in the context of the contemporary world crisis.Keywords: performance, group pasarela, autopoiesis, body, arts, re-existence. CONVERSACIÓN CON MI SOMBRA: a performance como metodología auto-poiéticaResumoEste artigo inscreve-se na linhagem dos trabalhos de pesquisa conduzidos pelo laboratório LLA-CREATIS da Université Toulouse - Jean Jaurès sobre as produções artísticas contemporâneas, caracterizadas pela sua hibridação formal e fluidez pragmática, enquanto jogando com a atividade ficcionalizante de um receptor à procura de significado. Seguindo o conceito de "performative viragem" teorizado por Erika Pescador-Lichte, e estendendo as reflexões conduzidas pela Crítica dos Dispositivos (Ortel, Lojkine, Rykner) que postula uma subversão da hierarquia semiológico/performativo, nós propomos analisar uma performance chamada "Conversación con mi sombra" ("Conversação com minha sombra"), apresentada no momento por um coletivo de acadêmicos colombianos jovens: o grupo Pasarela. Observamos em particular até que ponto a experiência compartilhada pelos autores / atores e o público faz parte de uma certa forma de autopoiésis (Maturana e Varela, 1980) e como opera seu poder para transformar e reparar no contexto particular da crise colombiana atual, mas também, mais amplamente, em o da crise do mundo contemporâneo.Palavras-chaves: performance, grupo pasarela, autopoiésis, corpos, artes, ré-existência.
This article is part of the tradition of research conducted by the LLA-CREATIS Laboratory of the Université Toulouse-Jean Jaurès on the subject of contemporary artistic productions, characterized by formal hybridization and pragmatic fluidity, playing with the fictionalizing activity of a receiver who is looking for sens (es). By following the concept of "performative turn" theorized by Erika Fisher-Lichte, and by extending the reflections carried out by the Critique of Devices (Ortel, Lojkine, Rykner) which postulate a subversion of the semiological/performative hierarchy, we propose the analysis of a performance entitled, "Conversación con mi sombra” (Conversation with my Shadow), currently being presented by a collective of young Colombian university students called Pasarela. In particular we observe to what extent the experience shared by the authors/actors and the public participate in a sort of autopoiesis (Maturana and Varela, 1980) and how its transformative and restorative power operates in the specific context of the current Colombian crisis, but also, more broadly, in the context of the contemporary world crisis.
This article is part of the tradition of research conducted by the LLA-CREATIS Laboratory of the Université Toulouse-Jean Jaurès on the subject of contemporary artistic productions, characterized by formal hybridization and pragmatic fluidity, playing with the fictionalizing activity of a receiver who is looking for sens (es). By following the concept of "performative turn" theorized by Erika Fisher-Lichte, and by extending the reflections carried out by the Critique of Devices (Ortel, Lojkine, Rykner) which postulate a subversion of the semiological/performative hierarchy, we propose the analysis of a performance entitled, "Conversación con mi sombra” (Conversation with my Shadow), currently being presented by a collective of young Colombian university students called Pasarela. In particular we observe to what extent the experience shared by the authors/actors and the public participate in a sort of autopoiesis (Maturana and Varela, 1980) and how its transformative and restorative power operates in the specific context of the current Colombian crisis, but also, more broadly, in the context of the contemporary world crisis.
Palabras clave
performance, group pasarela, autopoiesis, body, arts, re-existence, performance, grupo pasarela, autopoiésis, corpos, artes, ré-existência