Intobook2d

7/31/2019 Intobook2d

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15reasons

whyopposites

meet andcure


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To the Frankensteinian part of every human being.


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"A wounded man is much more elegant." Itamar

Assumpo


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CONTENTS

Agradecimentos e homenagem ....................................................Erro! Indicador no definido.

Apresentao ...............................................................................Erro! Indicador no definido.

MARCO ZERO .................................................................................Erro! Indicador no definido.

PARTE I: PRIMEIROS ENSAIOS .................................................Erro! Indicador no definido.

1. Dana primeira ..................................................................... Erro! Indicador no definido.

2. Tudo vale a pena quando a alma no pequena ................. Erro! Indicador no definido.

Referncias ........................................................................... Erro! Indicador no definido.

3. O quinteto fantstico .............................................................Erro! Indicador no definido.

Introduo ............................................................................. Erro! Indicador no definido.

Fatores de hibridao ........................................................... Erro! Indicador no definido.

Uma dupla frankensteiniana. ..............................................Erro! Indicador no definido.

Coniunctio oppositorum ........................................................ Erro! Indicador no definido.

Consideraes finais ............................................................. Erro! Indicador no definido.


PARTE II: SERES HBRIDOS ...................................................... Erro! Indicador no definido.

4. Dorme, dorme, Frankenstein ................................................ Erro! Indicador no definido.


Objeto transicional ................................................................ Erro! Indicador no definido.

Literatura e psicanlise .........................................................Erro! Indicador no definido.



5. Frankenstein e autoestima ....................................................Erro! Indicador no definido.


O mal e o bem ......................................................................Erro! Indicador no definido.

Autoestima ............................................................................ Erro! Indicador no definido.



6. Amigos frankensteins............................................................Erro! Indicador no definido.


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Pobre menina rica .................................................................Erro! Indicador no definido.

Teatro e lngua de sinais .......................................................Erro! Indicador no definido.

Rica menina pobre..............................................................Erro! Indicador no definido.Surdos e ouvintes no teatro brasileiro ...................................Erro! Indicador no definido.



Sites consultados ..................................................................Erro! Indicador no definido.

PARTE III: OUTROS FRANKENSTEINS ......................................Erro! Indicador no definido.

7. Assumindo a marginalidade ..................................................Erro! Indicador no definido.


Sculos XVIII e XIX ...............................................................Erro! Indicador no definido.

Sculos XX e XXI..................................................................Erro! Indicador no definido.

Teatro e dana ......................................................................Erro! Indicador no definido.

Teatro Surdo .........................................................................Erro! Indicador no definido.




8. Reflexes sobre domnio e submisso ..................................Erro! Indicador no definido.


O Clone ..............................................................................Erro! Indicador no definido.

Presa e predador ..................................................................Erro! Indicador no definido.

Os brutos tambm sofrem .................................................... Erro! Indicador no definido.

O papel da fmea na reproduo animal ..............................Erro! Indicador no definido.

Harns animais versusharns humanos .............................. Erro! Indicador no definido.

Bonitinhos, mas ordinrios ....................................................Erro! Indicador no definido.

Tantra ................................................................................... Erro! Indicador no definido.

Segundo o dicionrio ............................................................ Erro! Indicador no definido.

Dominao conforme Weber ................................................ Erro! Indicador no definido.

Jogos erticos .......................................................................Erro! Indicador no definido.




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9. Bem-aventurados os humildes de corao... ......................Erro! Indicador no definido.


Altrusmo ............................................................................... Erro! Indicador no definido.

tica de marinheiro ...............................................................Erro! Indicador no definido.Projeo positiva e ao curativa no arqutipo do mdico feridoErro! Indicador nodefinido.

Projeo negativa no filme A Hora da Estrela.....................Erro! Indicador no definido.

Matar, expulsar, afastar ........................................................ Erro! Indicador no definido.

Retribuir, restituir, incluir ....................................................... Erro! Indicador no definido.

Bhagavad-gita .......................................................................Erro! Indicador no definido.



10. O poder dos fracos no hatha yoga. .....................................Erro! Indicador no definido.


Tirumalai Krishnamacharya ...................................................Erro! Indicador no definido.

Devi e Iyengar .......................................................................Erro! Indicador no definido.

Estrutura e anti-estrutura ......................................................Erro! Indicador no definido.




PARTE IV: LIMITE E CRIATIVIDADE ...........................................Erro! Indicador no definido.

11. Cara e coroa ....................................................................... Erro! Indicador no definido.

No princpio era o verbo. .......................................................Erro! Indicador no definido.

Gauche ................................................................................. Erro! Indicador no definido.

Eugenia ................................................................................. Erro! Indicador no definido.

Diferena e movimento .........................................................Erro! Indicador no definido.

Limite .................................................................................... Erro! Indicador no definido.

Consideraes finais ............................................................. Erro! Indicador no definido.Referncias ........................................................................... Erro! Indicador no definido.

12. O poder integrador da comunicao no verbal..................Erro! Indicador no definido.


Entre a queda e o equilbrio ..................................................Erro! Indicador no definido.


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Comunicao no verbal....................................................... Erro! Indicador no definido.



13. Limites Gravitacionais ......................................................... Erro! Indicador no definido.Introduo ............................................................................. Erro! Indicador no definido.

A ponta e o pinto ...................................................................Erro! Indicador no definido.

Alpinismo e reabilitao: um dilogo ..................................... Erro! Indicador no definido.


14. Representaes coletivas e outros limites em obra de Jos Saramago.Erro! Indicadorno definido.


A morte no romance de Saramago ....................................... Erro! Indicador no definido.

Organizao na obra de arte ................................................ Erro! Indicador no definido.

Limite: amigo ou inimigo? .....................................................Erro! Indicador no definido.



Fotografias ............................................................................ Erro! Indicador no definido.


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Introduction

Between the years of 1994 and 1996 I took a specialization course in Art-therapy.

Nevertheless, after finishing the course, I did not stay in that area, though I had started several

projects related to it, such as a training correlated with art and rehabilitation at the Disabled

Children Caring Association AACD; a job as a creative dance/movement teacher at Lapa

Special Station, a So Paulo State governmental day-care institution for teenagers and

youngsters with all kinds of disabilities; and the translation of a book on Art-therapy.

Fourteen years later, and during a very long and still unfinished personal crisis, I came to

realize that even before the specialization itself I had already begun walking in a path paved with

arts and health. I also understood that I had carried on walking along this trail during my Master

in Religion Science, which I finished just a year ago. For this reason, this book gathers fourteen

essays written between 1994 and 1996, plus one having photographs taken from a 1990 play by

me entitled Sleep Tight Frankenstein.

Wounded Healers and other Frankensteins does not follow a chronological order.

Reflection on a fictitious monster, our well known Frankenstein, originated the play that later

gave birth to the book. Hence the image of suchlike fiends has accompanied me for a long time.

I believe it is so because these fantastic creatures bodies symbolize the opposing aspects that

fight against each other either inside, or outside them. Therefore, I regard their organic

dwellings as reflections of their ambiguities and extremely painful inner wounds caused by deep

cultural or psychological battles.

However, such wounds may prove to be great gifts for healing. So it is in the Shamanic

initiation, and so it was for the centaur Chiron described in the Greek mythology. As a centaur,

Chiron was a monster and, consequently had a hybrid body and personality. However, although

simultaneously showing a libidinal and violent nature like his mates, he was educated in several

crafts, and excelled in his knowledge of healing herbs. Nevertheless, as the son of a relationship

between a god and a mortal, he could not die even when badly injured by a poisoned arrow,

since being a demigod he was to live eternally. Therefore, his painful and otherwise lethal


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affliction became an ordeal he would have to bear forever. Still, his chronic hurt, as well as his

vain and never-ending efforts to heal it, developed his sympathy toward his patients, and

deepened his knowledge about healing methods and plants.

Like Chiron, Omolu, also known as Obaluai, is another wounded healer, but from theAfrican mythology. In Candombl 1 the god dances covered from head to toll in a straw cloak,

and in his dance points out the scars due to smallpox on his skin. Because Omolu not only

brings the plagues but also takes them away, he is both the Lord of Pestilences and the God of

Healing. The physical signs that mark the deitys body, as well as his spiritual sons and

daughters, symbolize their healing ability that came forth after a stage of physical torment.

Perhaps it shows that either a wounded person or one that has experienced a severe wound

passes somewhat easily from the world of the living to the one of the dead and vice-versa.

Consequently, they can thus retrieve people from death, which is seen here as a metaphor ofany suffering.

These considerations for hybrid physicalities make me believe that conflicts caused by

the presence of multiple faces in a single person do not occur only within mythical and unreal

creatures. Instead, they also take place within true human beings, not to mention institutions

and contemporary societies, for in the present times we are simultaneously surrounded by the

old and the new, the traditional and the state of the art, the popular and the classic, the

autochthonous and the alien.

Let me give an example of hybridism in contemporary dance. For many years Jir Kylinwas the choreographer and artistic director of the Netherlands Ballet Theatre, although he was

born in the Czech city of Prague. Once, he attended a performance of ancient Aboriginal dances

in Australia as the only invited Caucasian person. The festival showcased ritual and sacred

dances that had never been disclosed to natives from other tribes, even if neighbouring ones

let alone to Europeans. When Kylin returned to Holland, he created a choreographic

composition out of the basic principles of the movements he had seen. This way, movement

principles of a culture of about 40.000 years formed the basis for an innovative and present-day

work. Well, this gathering of different cultures that used to be kept apart because of time andspace barriers, is extremely up-to-date and hybrid; and just as hybrid are the centaurs from

ancient Greece, Frankenstein and Omolu.

1An African-Brazilian religion similar to Voodoo and Santeria.


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My conclusion at the end of these considerations is that the cure of physical,

psychological, or cultural wounds caused by the presence of opposing forces within hybrid being

or civilizations lies in the integration of these oppositions. The resulting outcomes of this

therapeutic action are the widening of creativity, and the improvement of the communication withothers, as well as respect towards them.

Wounded Healers... contains fourteen independent essays that are grouped in four parts

plus one comprised of photos scattered elsewhere in the book. All of them are related to

opposites in general. The opening one, First essays, begins with two essays that bring together

short texts originally posted in a website that is no longer functional. It was named The Dancing

Centaur (TDC). A larger essay follows the preceding ones. In the beginning both part and text

emphasize the singular first person pronoun I, then as we read on, and as the human maturing

processes reflected by them also evolve, the self-centred personality becomes aware of thesurrounding others, and the original I becomes us.

Once the foundation is ready, it is possible to build a framework. Therefore, the second

part of the book, named Hybrid Beings, groups essays with the word Frankenstein in their

titles. They underline the importance of Frankensteins image to me and are the origin of all the

other texts, including the ones found in the former segment. But the reason I did not begin the

book with them is because firstly I wanted to establish a solid starting point for the reader.

The essays of the third part, Other Frankensteins, examine some different creatures I

believe to be related to Frankensteins image. It does not matter whether they are fictitious ornot, as long as they are as hybrid and marginalized as Mary Shelleys monster. According to

what has already been said, as the maturing processes go on, one starts to distinguish oneself

from others. Thus, in these essays, the otherness is enhanced to represent what happens when

the empowered and differentiated person is able to help their neighbours, and gets empowered

in turn.

Finally, we come to the fourth part, entitled Diversity, limit, and creativity. The articles in

this part go further in the discussion on the arts and healing related to conflicts caused by

physical and psychological limits. These essays show that limits, instead of restraining creativity,are the sine qua non condition for its existence, as well as for that of freedom even in the

general sense. This radical perspective change favours the integration of opposing forces within

a person and, as stated above, the power thus acquired is the cause of a blooming creativity

that makes for an important indicator of cure.


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It is worth noting that the closing chapter in this book is a critical analysis of a literary

piece of art by the Portuguese writer Nobel laureate Jos Saramago. More specifically, it is a

sociological and anthropological approach to Death with Interruptions. This way, all health-

related themes such as illness, death, and exclusion all related to limits associated withcreativity and wounded healers, or yet with human power, make this book up. Moreover, the final

essays of each subdivision prepare the readers to the following one. In short, Wounded Healers

and other Frankensteinsparallels the human beings maturing process while reflecting it.

Regarding the two last two essays in the third part, they are more specifically connected

to religion studies, rather than to any kind of art. Then, why include them in this book? Firstly,

they deal with themes related to health; and secondly, religion has ambiguously marked my life.

I mean, though the excluding and moralist attitude of most religious institutions have

undoubtedly been, and unfortunately carry on being, the master cause for the worsening ofmany wounds, I must admit that it may also be a healing agent for human suffering. Perhaps

this is so because truly religious persons do not judge others, and, as I see it, this behaviour is

the first step for a sound recovery.

Thirdly, the word salvationcan be translated as cure in reference to the much more

holistic context found in the past, where physical disorders were seen as a disharmony between

different aspects of ones life and body. So, up to these days, in most creeds both health and

religion intimately relate to each other. In Christianity it also happens since Christ, who is also

known as the doctor of the soul, was not spared from being a wounded healer himself.Finally, issues such as healers and healing in African-Brazilian and other popular

cultures, healing rituals, Shamanism, death, grievance, and death rites, mental and physical

illnesses, the cults of healing entities, pilgrimages to such places, the relationship between

healing and faith seem to be meaningful not only to Religion Studies, but to the Health Sciences

and Arts alike. Nevertheless, I admit that an artistic, therapeutic, and religious flavor permeates

this book. Therefore, Wounded healersis also formed by different surfaces that form common

boundaries or interfaces.

I would like to point out one last thing before finishing off. The various essays that formthis text were written over different periods of time and from singular standpoints. Furthermore,

the whole is not a simple sum of its parts. So, I did not limit myself to collecting essays only. In

addition to that, whenever possible I tried to harmonize them and eradicate repetitions, except


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for the references at the end of each of them that were left exactly as they originally were.

Therefore, I beg the reader to pardon me if I failed in my self-imposed task.

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