Analysis of the construction of the concept Choreographic Object through the methodological triangulation: mutability, transferability

Abstract

The goal of this article is the presentation of an uncommon approach in the world of performing arts. Starting from the William Forsythe's concept of Choreographic Object (FORSYTHE, 2008), originally bound to dance, we aimed the clarification and exploration of both the concept itself and its application in areas such as the performing arts, production practices and the projection of space. Being integrated into the production crew of Scattered Crowd allowed the conjugation of methods of accessing the main performers of this play: William Forsythe himself and 10 elements of the crew who contributed to this installation. The interviews were conjugated with meaning and experience exploration techniques such as resorting to visual and graphic objects (poster) and video objects. The conjugation of the prospectives granted through four distinct qualitative methodologies constitutes the conclusion of this article. The completion of the triangulation of these various approaches allows you to understand the concept of "choreographic object" as an object of convergence. This conclusion is derived from the ongoing research. The convergence that "choreographic object" holds seems to materialize in the effect that requires and in the way it affects who attends it, the spectator.