Corporeality, Corporality, Corporeity, and Embodiment in Performing Arts

Abstract

The concepts of corporeality, corporality, corporeity, and embodiment can be misunderstood and overlapped in the researches of the performing arts area, when their differences, specificities as well as encounter points are not clear to whoever decides to develop investigations addressing these matters. This approach can foster a plural research field in the matters related to the performing arts in general, also centring the reflexions from the perspective of the subjects who are feeling, experiencing, and surrendered to the creative processes. By addressing corporeity, corporeality, corporality, and embodiment as reflexive viewpoints, performing artists can potentialize singular findings, dynamized from experiences aroused from the body-voice. Within this regard, body and vocal work can assume other ways as research interests. The aspects related to the subjectivity not being disconnected from the body-voice as a potentializer for the experiences opens up the opportunity to understand how the vocal-bodily experiences lived during the creative process can generate singular learning/knowledge/understanding processes, characteristically potentialized by the performing artists who drive their works in this way.