Crisscrossing behind-the-scenes writing

Abstract

This article intends to raise issues and point convergences between some written texts in limit situation. Why write in limit situations? Who do you write for? What is written? What is the vital distance for this writing to become potency? Taking a perspective that refers to our experience with theater, we try to observe what kind of thinking arises from the chosen texts, at first written to not be read. In addition to bringing Lygia Clark, Helio Oiticica, Waly Solomon, Torquato Neto and Paulo Leminski to this conversation, we will use excerpts from personal and daily process files where the issue of life / art seems to us to be imbricated. In some moments the character will appear an actress / another actress in order to unfold the speech. Different texts will be mixed and linked in an associative way. A certain thought-laughter, following Deleuze's formulations in Logic of the sense is privileged here taking into account its potency to leave impassses in an inventive way.