Presence in Lume’s Work as Temporal Enlargement and Oceanic Feeling Translated title: La Présence dans l’Œuvre de Lume comme Prolongation du Temps et Sentiment Océanique Translated title: A Presença no Trabalho do Lume como Alargamento Temporal e Sentimento Oceânico

Abstract

ABSTRACT The article combines efforts to read Lume’s aesthetic based on possible philosophical connections supported by the notion of temporal enlargement and the Freudian concept of oceanic feeling. The philosophical-conceptual methodology was used to this end. The ideas of composition, fluctuation and saturation plane, delirium, the dissolution of borders and a sense of holistic connection stood out. Presence was the articulating element of Lume’s aesthetic, which is framed by the aforementioned conceptual principles. By exposing two possible receptions, the text intends the comparison with such knowledge to add layers of expansion to the theatrical aesthetic experience, not aiming to reveal meanings, but rather to propose intelligibilities.

Translated abstract

RÉSUMÉ L’article rejoint les efforts pour lire l’esthétique de Lume basée sur d’éventuelles connexions philosophiques soutenues par l’expansion temporelle et le concept freudien du sentiment océanique. Pour cela, il s’est appuyé sur la méthodologie philosophico-conceptuelle. Les idées de composition, de plan de fluctuation et de saturation, de délire, de dissolution des frontières et de connexion à l’ensemble ressortent. La présence était l’élément d’articulation de l’esthétique de Lume avec les composantes conceptuelles mobilisées. En exposant deux réceptions possibles, le texte entend que la comparaison avec de telles connaissances ajoute des couches d’expansion à l’expérience esthétique théâtrale, sans vouloir révéler des significations, mais plutôt proposer des intelligibilités.

Translated abstract

RESUMO A Presença no Trabalho do Lume como Alargamento Temporal e Sentimento Oceânico - O artigo reúne esforços para ler a estética do Lume a partir de possíveis conexões filosóficas com suporte no alargamento temporal e no conceito freudiano de sentimento oceânico. Para isso, amparou-se na metodologia filosófico-conceitual. Destacaram-se as ideias de plano de composição, flutuação e saturação, o delírio, a dissolução de fronteiras e a ligação com o todo. A presença foi o elemento articulador da estética do Lume com os componentes conceituais mobilizados. Ao expor duas recepções possíveis, o texto intenciona que o cotejamento com tais saberes acrescente camadas de expansão à experiência estética teatral, sem pretender revelar sentidos, mas antes, propor inteligibilidades.