This paper replies to the text of Höfling published in this journal in v. 6, n. 2 (2016), clarifying aspects of the research in the Dancer-Researcher- Performer (BPI) method. Procedures and approaches of the method, concerning field research, artistic creation and presentation of performances are fully expressed. Throughout the text, practical examples of investigations carried out over 36 years of research in this method are given, as well as theories of psychology, which promote a deeper understanding of the contents that are articulated in the body and, as consequence, provide subsidies to guide the emotional processes inherent to artistic creation.
L’article présente des aspects de la recherche de la méthode Danseur-Chercheur-Interprète (BPI), en réponse au texte Hofling publié dans ce journal en v. 6, n. 2 (2016). Des procédures et des angles d´approche de la méthode touchant aux recherches de terrain, à la création artistique et aux spectacles sont explicités. Sont donnés des exemples pratiques, de travaux réalisés au cours de 36 ans de recherches dans cette méthode, de même que des théories de la psychologie sont abordées, qui aident à la compréhension plus profonde des contenus qui s´articulent dans le corps et, conséquemment, apportent des recours pour une conduite des processus émotionnels inhérents à la création artistique.
This paper replies to the text of Höfling published in this journal in v. 6, n. 2 (2016), clarifying aspects of the research in the Dancer-Researcher- Performer (BPI) method. Procedures and approaches of the method, concerning field research, artistic creation and presentation of performances are fully expressed. Throughout the text, practical examples of investigations carried out over 36 years of research in this method are given, as well as theories of psychology, which promote a deeper understanding of the contents that are articulated in the body and, as consequence, provide subsidies to guide the emotional processes inherent to artistic creation.