AMABILIS DE JESUS DA SILVA FIGURINO-PENETRANTE: UM ...

ABSTRACT
The present research aims at investigating the relationship between costume and body,
spotting two perspectives for the notion of persona: that derived from the idea of a spiritcharacter
(ghost), preexistent in the literary form, and costume as its body; and another,
according to which the spirit-character is manifested conjointly in the costume and in the
acting-body as well. One emphasizes this second relationship, hybrid and grotesque, which
blends human/inhuman, art/life, for representing a first step to the future notions of body
presentification. The material aspect of costume as a discomfort to the body, and which
besides covering it, penetrates, pierces, inlays, or trespasses it, is also a topos of creation.
Therefore, the destabilizing of hierarchies among the elements of the scene reaches another
sense. It does not mean only attributing to the costume a participation as sign, as much as
assigning to this element the function of collaborating in the promotion of differentiated states
of the body, considering it as integrator of the scene initial process. The philosophical debate
on the soul/body gives support to the discussions related to subjectivity. The studies involving
Body Modification and Body Hacking are exponential, insofar as they point at the invaded
body as the place of collisions, of what is to come, of self-control, and the place of
transgression, of the destiny to be traced; so, it is the place for new subjectivities. The case
studies indicate that the use of penetrating-costumes establishes other procedures, interfering
in the structuring and understanding of the scene, and demanding a destabilization of
hierarchies.
Key-Words: costume, penetrating-costumes, scenic arts, body modification.
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