From Oríkì to Elinga: Black-Brazilian principles of acting and staging

ABSTRACT The purpose of this article is to present reflections that seek to system Black- Brazilian principles of dramatic performance and staging. The studies presented aim to demonstrate the need for theoretical-practical thinking in the performing arts focused on an anti-colonial perspective, as opposed to a hegemonic Euro-referenced vision. Thus, the concept of dramaturgy is problematized as part of a colonial device to control subjectivities. The theoretical-practical studies and the underlying arguments of this text were systematized with a basis in counter-hegemonic scenic experiments investigated in workshops, courses, and classes in which creative processes were developed, which do not separate the languages of dance, theater and performance.摘要：本文旨在系统梳理巴西黑人（Black-Brazilian）戏剧表演与舞台呈现的相关理念并展开反思。本研究旨在论证，表演艺术领域亟需以去殖民视角开展理论与实践结合的思考，而非固守以欧洲为中心的霸权式认知框架。据此，本文对戏剧构作（dramaturgy）的概念进行了问题化探讨，将其视为管控主体意识的殖民机制的组成部分。本文的理论实践研究与核心论证，均基于对反霸权舞台实践的系统化梳理——这些实践源自一系列工作坊、课程与课堂中开展的创作过程，且未割裂舞蹈、戏剧与表演艺术的语言边界。