Descrição
In this article, we present some aspects of Dancer-Researcher-Performer (BPI) method that can be considered in its epistemological specificities. Therefore, the first purpose is to present a bibliographic review of this training and scenic creation methodology that has been developed for over thirty years in Brazil. Through brief reports, we present the history of the BPI, we describe its creative process and we list some data that enable a better understanding of this method, its singularities in the performing arts field. This paper does not intend to exhaust this subject, but rather seeks to open spaces for new dialogues and debate. ||Dans cet article, nous présentons quelques aspects de la méthode Danseur-Chercheur-Interprète (BPI) qui peuvent être considérés comme ses spécificités épistémologiques. Il s’agit d’une révision de la bibliographie fondamentale de cette méthode de formation et de création scénique qui se développe au Brésil depuis plus de trente ans. Par de brefs rapports, nous présentons l'histoire de la méthode BPI. Nous décrivons également son processus de création et présentons des informations qui permettent une compréhension de ses singularités dans le champ des arts scéniques. Ce travail n’a pas l’intention d’épuiser le sujet, mais cherche plutôt à ouvrir de nouveaux dialogues et discussions. ||In this article, we present some aspects of Dancer-Researcher-Performer (BPI) method that can be considered in its epistemological specificities. Therefore, the first purpose is to present a bibliographic review of this training and scenic creation methodology that has been developed for over thirty years in Brazil. Through brief reports, we present the history of the BPI, we describe its creative process and we list some data that enable a better understanding of this method, its singularities in the performing arts field. This paper does not intend to exhaust this subject, but rather seeks to open spaces for new dialogues and debate.
