Disfiguring Figures. The political potentiality of Marlene Monteiro Freitas’s choreographic work

Departing from the German philologist Erich Auerbach’s foundational study on the genealogy of figura—a concept that belonging to the three different fields of theology, rhetoric and visual arts has laid the foundations of the theories and practices of Western European representation—and following the reformulations by Freud, Gilles Deleuze, and Lyotard of this influential notion of figura as indeterminacy between form and process, the visible and the invisible, sensible and intelligible, the corporeal and the spiritual, this paper wishes to address how the choreographed figures of ambivalence, hybridity and metamorphosis in Marlene Monteiro Freitas’ works, namely, in her solo work ‘Guintche’, set the stage for a contemporary criticality of some of the structuring postulates of European modernity.