ENCONTROS E DESENCONTROS NA EDUCAÇÃO FÍSICA ESCOLAR: UM ESTUDO SOBRE O CORPO E O EROTISMO FEMININO

O presente trabalho tem como objetivo central examinar os espaços do corpo feminino na Educação Física, na sua modalidade escolar e sua dimensão erótica, à medida que este tema esclarece a prática docente na Educação Física. Com essa abordagem foi possível perceber com maior clareza a relação feminino-masculino no âmbito da prática e da formação docente. A partir do papel que o erotismo possui na relação homem-mulher, levantamos a seguinte hipótese: o componente erótico ressalta a contextualização masculinizada e masculinizadora da área da Educação Física. De natureza bibliográfica, a pesquisa retoma o momento de cientifização da Educação Física e passa pela institucionalização escolar em busca da caracterização de suas práticas escolares. Todo esse percurso visa mostrar a concepção e estruturação masculinizada da Educação Física e mostrar a inclusão da mulher num universo já definido previamente. O tema do erotismo mostra sua importância em nossa análise, pois permite perceber o quanto a mulher docente cede a essa masculinização massiva. Não somente assimila, mas a transmite por meio de sua prática escolar. O trabalho é composto de três capítulos: o primeiro trata da cientificidade da Educação Física, o segundo da sua institucionalização e o terceiro capítulo, mais teórico, analisa os dois momentos desta área.(AU)

As inter-ações entre espaço do corpo e o movimento dançado

This dissertation seeks to reflect about the relations between danced movement and body space (Kinesphere), and their contributions to the expansion of the expressive possibilities of the subject on dancing. According to Rudolf Laban there is no space that is empty, because it is always being modified and signified at every moment by the movement. Space exists because we interact with it, at the same time movement occours configuring a signifcant space that is incessantly transformed. In this sense, space, body and movement appear in this research as interconnected and interdependent. For this discussion we have as main interlocutor the studies of Rudolf Laban. The nature of this research is qualitative and descriptive. This is a context that embraces the phenomenon of dance and as such it is based on a dimension that doesn't deal with mensurability, but with the art scene, fruitful in its infinite openness to the creation of multiple significances for what has been lived. We also propose to present a report about the practical study developed in the discipline Coreologia in the licentiate course of Dance in UFRN, as well as the analysis of the interviews applied to students of this curricular component. The questions were developed in a way that lead to a reflection about the experience of those interviewed in this discipline, thus generating material for us to discuss how the students perceive dance based on the relational study between space and movement. We realize that this study may favor an understanding of the relations that the experienced movement in the act of the dance weaves along the spatiality that receives and fills our bodies, resignifying the vision of a space which is restrict to the mere place were the body moves and occupies. It also favors the reflections concerning the body that moves and creates spatiality when dancing, thereby bringing to the Performing Arts a chance to think and to experience on the expansion of the expressive gesture in dance and beyond it, led by the recognition of the principles that organize human movement pointed by Laban. It also contributes on the formation of the students in licentiate courses of Dance by questioning the ways to appropriate the contents worked in a graduation discipline as regards to the availability of the body for dance. This dissertation is divided in three parts, called Impulsos. In the First Impulso: “Primeiros Gestos Textuais”, we find an introduction to concepts and ideas of body, movement and space that permeates all the work. In the Second Impulso: "Nós", the triad body-space-motion is discussed using the metaphorical image of a knot that binds these three concepts. The third and final Impulso: "Enlaces" deal with impressions and discoveries lived during the experimentation of the principles of inter-actions studied here, in the lessons of the already mentioned discipline

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Vestimentas em performance: composições em modos do corpo

This research deals with the possible relationships between the body and the garment in performative scenic states across the contemporary scene, the philosophy of fashion and the philosophical arguments of profanity and dispositive. Some works were observed and cited in this dissertation, for this I conducted structured interviews with eight artists of performance, as a methodological strategy that could bring data about the experiences of this dresses and/or naked bodies on the scene, in addition to literature and revealing the action of clothing on the body as well as its influence on the subjectivities of that whom performes and the public. These relationships can be experienced in the process of creating costumes in contemporary scene naming the possibility of modes of the body, as ways that emerge and constitute as creative, discursive and aesthetic alternatives.

O corpo em Michel Onfray

This inquiry looks it to think of the body through Hedonistic Philosophy of Michel Onfray. To compose his written, the philosopher launches strong criticism to the asceticism (constituted by the philosophical tradition and by the monoteístas religions), accusing it of despise the body and the pleasure of his teachings, anchored by the Christian moral. However, his philosophy defends the hedonismo and emphasizes the pleasure as an ethical / moral beginning, which aims the other as much as the individual himself, elevating the body and his potentialities through five senses. The contemplated philosophy allowed us think on the Physical Education, area wich, traditionally, was tied to the execution of disciplinary tasks of the body, disregarding the sensibility of his pedagogic practice. In this scenery, there is an ideal of body that attacks us daily, intensified by this area, which turns in the ethical problem of the body. From then, we launch our questions: From Michel Onfray philosophy, how the body shapes between the asceticism and the hedonismo?, What are the possible implications for the Physical Education? Ruled in the method of the Hedonistic Materialism, proposed by Michel Onfray, we think about this inquiry on two central points that contemplate our categories of study to be known: Glorious body and Loose living Body. We resort to Michel Onfray´s books, as well as, interviews given by the author in magazines / newspapers to help in our inquiry intentions. For the approach ethics / esthetics in the Physical Education, we use the texts of Silvino Santin and Hugo Lovisolo. Besides, we brought the cinema dialog. We classify this inquiry as a true Odyssey that transported us to unknown places and as a return to other already visited. This travel provided teachings that will help our wisdom on how survive the life, alerting us for the worship to the body like the cultivation of ourselves, and not as search of reaching physical standards stipulated by the society in force.

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.

Desenvolvimento e avaliação do emprego de dispositivo ajustável ao corpo para treinamento de habilidade de acesso venoso periférico no membro superior

OBJECTIVE: To dev elop and evaluate the use of a body adjustable device for training of peripheral venous catheterization for healthcare undergraduate students . METHODS: This study involved two phases: I) development of the innovative simulator and II) a controlled trial co mparing the performance of the body adjustable device in relation to the commercial simulator for the training of venipuncture skills. A total of 79 first - year medical students participated in the intervention phase, which consisted of pretest assessment, lecture on peripheral venous access, randomization into two groups according to the simulator used for training (Commercial Simulator and Experimental Simulator), real venipuncture procedure, post - test assessment and evaluation of satisfaction. RESULTS: Gr oups were homogeneous in age, sex, pre - test and post - test scores, attitudinal assessment and performance in performing the real venipuncture. Students from the Experimental Simulator group performed better on the filling of simulated records. At the end of the study, cognitive gain significantly increased in both groups. The degree of realism perceived by students was equivalent for two groups. A total of 85.7% of students rated the Experimental Simulator as good or excellent. CONCLUSIONS: Experimental simu lator proved to be a low cost alternative for the training of venipuncture skills in upper limb. The cognitive procedural and attitudinal performances of students who used the experimental simulator were similar to those observed in the group trained with commercial simulator.

Corpo, movimento e aprendizagem na psicocinética de Jean Le Boulch

School teachers in the discipline of Physical Education, we find ourselves constantly in question of methodological and epistemological issues of practice. This research aims to identify human body understanding, movement and theoretical learning proposed by examining the work of Jean Le Boulch and his approach to Physical Education. We seek to indicate epistemological elements about Physical Education theory and practice, believing that this approach and dialog comes to contribute with this field of knowledge. Boulch, a French teacher of Physical Education, Medicine and Psychology, had an important influence in Brazilian Physical Education during the 1970s and 1980s. His main contribution was teaching courses and knowledge about psychomotricity. Boulch’s studies helped to build knowledge of human movement; considering his importance in people’s development and a critic to a mechanistic view of body and movement. Our reflections will be based on the concepts brought from psychokinetics presented in the bibliographic references of Le Boulch in Brazil, and other references developed by him in this country including conferences, lectures and interviews. This reflection includes the debaters of his work. We chose a theoretical approach referring to the Phenomenology of philosopher Maurice Merleau-Ponty (1999) as a methodological reference considering the influence of his thought in Le Boulch studies. This thesis examines the learning and practice of teaching the Physical Education field of knowledge. We conclude that the body being an entity that exists for itself in the world and that contact with the world starts from human movement. Ultimately, new trains of thought for the teaching of physical education can be set from the reflection of phenomenological concepts brought by Le Boulch in his theory.

Representações sociais da identidade docente na formação inicial de professores de sociologia da UFRN

La presencia hodierna de la Sociología en la educación básica brasileña es un elemento nuevo para los sujetos que a ella están relacionados y, para el grupo investigado en este estudio, los licenciandos y licenciandas del curso de Ciencias Sociales de la Universidade Federal do Rio Grande do Norte (UFRN), la situación no es diferente. Con el intuito de comprender cómo los saberes aprehendidos durante la formación inicial de profesores influencian el proceso de construcción de la identidad, se investigó las representaciones sociales que eses sujetos construyen cerca de la identidad docente, intentando comprender cómo estos representan las profesoras y profesores de Sociología. Por lo tanto, se hizo una comparación entre los elementos que compusieron los núcleos centrales de las representaciones sociales de los licenciados ingresantes y de los licenciandos en práctica del referido curso, además de un examen del plan de estudios de esa licenciatura. Se adoptó la Teoría de las Representaciones Sociales y el Abordaje Estructural como aporte teórico y de la Técnica de Asociación Libre de Palabras como recurso metodológico. Al llevar a cabo el análisis de los datos obtenidos durante la investigación, se hizo evidente que la memoria, mientras un conjunto de experiencias del sujeto, desarrolla un papel esencial en los procesos de construcción representacional e identificación, pues la familiaridad con la asignatura de Sociología en la Enseñanza Mediana trajo nuevos e importantes elementos para la composición del perfil de los actuales ingresantes en la licenciatura investigada. De este modo, al asociar representaciones sociales, identidades y formación de profesores en la tríade conceptual que condice esa investigación y teniendo as experiencias anteriores de los sujetos como un enlace, el objetivo fue demostrar cómo eses elementos componen partes de procesos sociales análogos e indisociables. Sin la acumulación de experiencias memoriales no hay representación, mucho menos identidad. Por el contrario, los datos muestran que las discusiones, erigidas por la reciente obligatoriedad de la Sociología en la Enseñanza Mediana, no encuentran eco en el cotidiano formativo de los licenciados permaneciendo alejado del currículo de la licenciatura en Ciencias Sociales de UFRN. Esa coyuntura se refleja en construcciones representacionales tanto de los licenciados ingresantes como de los estudiantes en práctica, asociados a una noción intervencionista de la asignatura de Sociología. Esta noción se convierte nebulosa una definición clara de la representación de la identidad docente de profesora y de profesor de Sociología para los licenciandos en formación. La intensa relación de esta representación con la asignatura y no con el hacer pedagógico, con la presencia intervencionista de una probable transformación y no con la compresión de las problemáticas y juegos sociales demuestran que la identidad docente del profesor de Sociología todavía es un objeto que está siendo basado por eses sujetos, que está siendo ajustado a partir de otras representaciones existentes y que la formación inicial de profesores necesita estar atenta a esas representaciones y adecuarse más apropiadamente a la realidad de enseñanza de Sociología que subvierte a docencia de esta asignatura en Rio Grande do Norte.

Da voz que cala ao corpo que fala: o assédio moral no ambiente de trabalho como desafio para o serviço social

The changes ocurred in the world of capitalist labor, especially from the last decades of the 20th century, accentuated the process of manipulation and domination of the working class, materialized mainly through naturalization and / or trivialization of violence, conducted in the work environment. From this process, emerge the elements of bullying, that is, the embarrassing and humiliating practices which extend through time, degrading human race, and becoming fruitful object for study, debate and the intervention of the professionals of the Social Service area. Thus, we assume the perspective of analyzing the concepts and the work of social workers, whom work at people management area before the bullying in the workplace. We propose the following objectives: apprehend the settings of bullying, in the contemporary context of competitiveness and flexibility of work, as well as its implications for workers' health; characterize the background of this expression of violence at work in the municipality of Natal- RN; and analyze the powers and duties of the social worker in the process of prevention, identification and addressing of bullying in the context of work. This study consisted of a qualitative approach, based on the dialectical-critical method as soon as we adopt methodological procedures such as: theoretical knowledge, documental and field research, and performed using semi-structured interviews. The subjects of this research were nine (09) the Social Service professionals working in personnel management area, in five (5) institutions with legal and branches of different activities, located in Natal-RN. Even interviewed one (01) representative of the Public Ministry of Rio Grande do Norte Office (MPT-RN). The findings of this analysis indicate that bullying is a contemporary expression of "social question", which is presented as a demand for the Social-assistants – covered up and / or camuflage – under the guise of problems related to workers' health or mere conflicts of interpersonal relationships, that is, without any causal connection with the organization of work. The fear of losing job, not to be inserted in the labor market, and / or suffering reprisals, deepens the subject levels of the victims of bullying. Hence the importance of Social Workers are capable to understand the social reality, by preventing and combating the elements of bullying.

Um coração que pulsa fora do corpo: imagens passionais nas cartas de Frida Kahlo

Entre los años 30 y 40 del siglo pasado, México vio surgir de las cenizas de la revolución mexicana, una figura singular. Frida Kahlo es descrita hasta la fecha de hoy, por el imaginario social – en sus pinturas, en sus fotografías – como una mujer que ha marcado una época y se ha convertido en un símbolo de luchas, y esto se extiende hasta la contemporaneidad. Se ha creado en torno a la pintora mexicana, varias imágenes sociales que se describen en el juego dialógico entre sus obras y sus interlocutores. Teniendo por referencia estas afirmaciones, la investigación aquí presentada ha tomado como procedimiento realizar un análisis de seis cartas escritas por Frida a sus interlocutores amados/amantes – tres hombres con los que estuvo involucrada, emocionalmente, durante diferentes períodos de su vida – y, como objetivo, hacer un mapeo de los ethé construidos por ella en enunciados en los cuales ella "pinta" verbalmente una imagen de sí misma que se revela en las opciones léxicas elegidas para hablar de amor, de traición, de amistad, de dolor y de su estar en el mundo. Por lo tanto, hemos refinado una imagen estética e ideológica de Frida Kahlo que se cubre de pasionalidades distintas y de diversos grados dialógicos. Hay, en el recorte temporal y axiológico que hicimos para esta investigación, una mujer de naturaleza amante y que transformó ese amor en el tono de sus enfrentamientos con los interlocutores con quienes estuvo involucrada emocionalmente. Nuestro análisis está anclado en los postulados teóricos del Análisis Dialógico del Discurso (ADD), cuyo teórico base es el filósofo ruso Mikhail Bakhtin (2003, 2009, 2013) – sobre todo cuando se trata de estilo – y en la teoría de la enunciación de Maingueneau (2008, 2005) y Charaudeau (2006) – en lo que se refiere al ethos discursivo. Esta investigación se inserta en el área de Lingüística Aplicada y tiene un enfoque cualitativo-interpretativo.

Viver e esperar viver: corpo e identidade na transição de gênero de homens trans

This work seeks to understand how trans men build their identities and live the transsexual experience in the relationships they establish daily onto “man” category. It could be observed that for it they engenders a specific gender transition in the midst of male transsexuality. Despite being under a complex amalgam of relations of exploitation and disciplinary domination, ways of being man are brokered for a living and entry into spaces where they are expelled for not conform the bodies that gender norms require. It is understood that gender transition is a process at the same time of organic and prosthetic body management and the assumption of your own identity. Thus, they build a politic of identity that creatively fixes a person's category as rights holder. The "transition" is therefore to transact from nonexistence to a place of humanity. This dissertation describes how this process takes place in the experiences of the speakers, observing the practices that bring out the male, front of class positions on the labor market, access to health, hormonization and own identity. Thereby, theories that fix them as expressing female masculinities or marginal to the hegemony do not find exactitude in their lives. The research methodologically started performing "multilocated ethnographies" that gave possibilities to in-depth interviews with 15 stakeholders from the Northeast, Midwest, Southeast and South of Brazil. Between 2014 and 2015, from the applying of network technique to the first dialogues in research, it was possible to build a participant observation by the trans men’s everyday life. Wherewith I was capable to behold their own private activities, as well as their public agency amid a trans activism collective in northeast, and the follow-up actions in which they were involved during the XII Encontro Nacional em Universidades de Diversidade Sexual e de Gênero (ENUDSG) held in Mossoró/RN. Therefore, the thesis engages to describe and understand the different ways of constructing trans male gender transitions in access to transsexuality and therefore a way of explaining their own trajectories in terms of people that exist as such, even though in the midst of narratives marked by emotions linked to "not live", to suffering and dehumanization.

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.