Roda de Cura/Centauros Feridos

Arte, saúde e seres híbridos: transgressões e integrações de fronteiras

Since 1990 when reflections on a monster from the fiction – the notorious Frankenstein – gave origin to a play by Rogério Migliorini called Sleep Tight Frankenstein that creatures with hybrid bodies go with him.

A little later, due to an illness and its treatment, half of his body was semi-paralyzed while the other half remained unaltered. So, his own body became a hybrid one.

He decided, then, to think over beings with curious bodies and realized that differences, and multiple facets in a apparent unity may cause conflicts not only in mythical and unreal beings, but rather in real humans, institutions, and societies.

By agreeing with Cancline in his Hybrid Cultures: Strategies for Entering and Leaving Modernity, Migliorini  states that “in the present world we simultaneously live with the old and the new, the traditional and the state-of-arts technology, the popular and the classical”. In short, many facets co-exist simultaneously in the same unity.

When working with people with cerebral palsy he started to create a piece, the first result of which he shows in this blog, and justifies by saying: “For me,  a person with cerebral palsy’s vocalization resembles whale songs, not specially in sound, but rather, I believe, in an organization that makes what seems an apparent erratic sound a very effective and complex means of communication.

Then, he brought together sound and visual items plus acting/dance ones. Hence the vocalization of two persons with CP mixed with the song Epitaph for the whales by Fátima Miranda; the faun, who is a semi-human being; the drawings by Mariangela Guelta of beings part humans and part animals, beast-like vessels, strange fishes, and the hint of sunken statues, and the navigation through unexplored seas.

Since 1990 when reflections on a monster from the fiction – the notorious Frankenstein – gave origin to a play by Rogério Migliorini called Sleep Tight Frankenstein that creatures with hybrid bodes accompany him.

A little later, his own body was transformed into a hybrid one. I.e., due to an illness and its treatment, half of it was semi-paralyzed while the other half remained unaltered.

He decided, then, to think over beings with curious bodies and realized that differences and the presence of multiple facets in an seemingly unity may cause conflicts not only in mythical and unreal beings, but rather in real humans, institutions, and societies.

By agreeing with Cancline in his Hybrid Cultures: Strategies for Entering and Leaving Modernity, Migliorini  states that “in the present world we simultaneously live with the old and the new, the traditional and the state-of-arts technology, the popular and the classical”. In short, many different facets co-exist simultaneously in the same unity.

When working with people with cerebral palsy he started to create a piece, the first result of which he shows in this blog, and justifies by saying: “For me,  a person with cerebral palsy’s vocalization resembles whale songs, not specially in sound, but rather, I believe, in an organization that makes what seems to be an apparent erratic sound a very effective and complex means of communication.

Then, he brought together sound and visual items plus acting/dance ones. Hence the vocalization of two persons with CP mixed with the song Epitaph for the whales by Fátima Miranda; the faun, who is a semi-human being; the drawings by Mariangela Guelta of beings part humans and part animals, beast-like vessels, strange fishes, and the hint of sunken statues, and the navigation through unexplored seas.

to see perfomance 1 (umesp) click here