VAGINA DA ARTISTA - PERFORMANCE FEMINISTA EM POÉTICAS DE DUAS ARTISTAS MULHERES

Resumo: O artigo tem como objetivo problematizar a performance enquanto prática artística que promove a resistência, a pluralidade e a diferença, discutindo como ela pode favorecer aspectos educativos. Apresenta o conceito de performance em seus aspectos históricos, antropológicos e artísticos, bem como a performance autobiográfica, que possibilita o resgate de experiências pessoais, memórias coletivas e, no recorte apontado aqui, o exercício do ativismo feminista. Aborda aspectos do movimento feminista e analisa performances de duas artistas mulheres e feministas: a artista norte-americana Carolee Schneemann e a artista brasileira Panmela Castro. Por fim, avalia o caminho evocado pela performance como viável ao estabelecimento de estratégias de resistência e sensibilização por meio da experiência artística compartilhada entre performer e espectadoras. Ademais, aponta a performance como alternativa para instigar o pensamento crítico, a liberdade e a criação de possibilidades de transformações no âmbito pessoal e coletivo, por meio de ações que abordam temáticas identitárias que refletem as lutas de movimentos sociais, como o movimento feminista, movimento negro e movimento LGBTQI+.Palavras-chave: Arte contemporânea. Performance. Performance autobiográfica. Feminismo. Mulheres artistas. Abstract: The article aims to problematize performance as an artistic practice that promotes resistance, plurality and difference, discussing how it (the performance) can favor educational aspects. This paper presents the concept of performance in its historical, anthropological and artistic aspects, as well as the autobiographical performance, which enables the recovery of personal experiences, collective memories, and, in the clipping pointed here, the exercise of feminist activism. The article also addresses aspects of the feminist movement and analyzes the performances of two women and feminist artists: US artist Carolee Schneemann and Brazilian artist Pammela Castro. Finally, it evaluates the path evoked by the performance as feasible for the establishment of resistance and sensitization strategies through the shared artistic experience between performer and spectators. In addition, the article points to performance as an alternative to instigate critical thinking, freedom, and the creation of possibilities for transformations at both the personal and collective levels, through actions that address identity themes which reflect the struggles of social movements, such as the feminist movement, the black movement, and the “LGBTQI+” movement.Keywords: Contemporary art. Performance. Autobiographical Performance. Feminism. Women Artists.

All fathers are fictional : These are not my Father's Shoes ‐ a practitioner's reflections on the process of creating autobiographical performance.

A practitioner's reflections on the personal and artistic journey undertaken in the creation and performance of These are not my Father's Shoes, an autobiographical performance inspired by the author's relationship with her father. Both the Halprin Life/Art Process and the RSVP cycles are referenced as part of the working process.

BRILLIANT DISGUISES: PERSONA, AUTOBIOGRAPHY AND THE MAGIC OF RETROSPECTION IN BRUCE SPRINGSTEEN’S LATE CAREER

Popular musicians with long careers provide rich source material for the study of persona, authenticity, endurance and the maintenance (and reinvention) of significant bodies of work. Successful artists’ songs create a soundtrack not only to their own lives, but also to those of their audiences, and to the times in which they were created and to which they bore witness. The work of singers who continue to perform after several decades can be heard in terms of their ‘late voice’ (Elliott 2015), a concept that has potentially useful insights for the study of musical persona. This article exploits this potential by considering how musical persona is de- and reconstructed in retrospective, autobiographical performance. I base my articulation of the relationship between persona, life-writing and retrospective narrativity on a close reading of two late texts by Bruce Springsteen: Born to Run, the autobiography he published in 2016, and Springsteen on Broadway, the audiovisual record of a show that ran from October 2017 through to December 2018. In these texts, Springsteen uses the metaphor of the ‘magic trick’ as a framing device to shuttle between the roles of autobiographical myth-breaker and lyrical protagonist. He repeatedly highlights his songs as fictions that bear little relation to his actual life, while also showing awareness that, as often happens with popular song, he has been mapped onto his characters in ways that prove vital for their sense of authenticity. Yet Springsteen appears to be aiming for a different kind of authenticity with these late texts, by substituting the persona developed in his recorded work with an older, wiser, more playful narrator. I appropriate Springsteen’s ‘magic trick’ metaphor to highlight the magic of retrospection and the magical formation of the life narrative as an end-driven process.