Cores do divino: um estudo sobre o processo de criação do figurino do espetáculo divino do núcleo atmosfera

Abstract

This study explores the dialogue between color, costume design, and religiosity from the perspective of creating a street performance configured as dance-theater. The overarching objective of the research is to present the costume design process of the production Divino, created by Núcleo Atmosfera in São Luís, Maranhão. The investigation focuses on the relationship between color and the sacred, drawing inspiration from the Festa do Divino of Alcântara, a Catholic celebration, while also considering elements from the Terreiro de Mina festivities. This approach aims to understand how the costume design interacts with color to contribute to character creation, analyzing how colors are manifested on stage and the criteria used by performers to select them for the production. This case study employs a qualitative approach. The methodological procedures include bibliographic research for theoretical foundation, documentary research analyzing sources such as photographs, documentaries, press releases, scripts, videos, photographic records of the costume design process, and field research through interviews. These elements enabled a comprehensive and detailed understanding of the study's subject. To comprehend the Festa do Divino and its intersection with costume color, the research relied on academically recognized bibliography, including works by João Leal (2019), Mundicarmo

Ferretti (2006), Sérgio Ferretti (2005), and Heider Matos (2022). These authors examine Afro- Brazilian manifestations in São Luís, with a particular emphasis on the Festa do Divino.

Regarding the analysis of color, the study is supported by Eva Heller (2013), exploring the historical and social contextualization of color usage, considering the celebration's roots in social and hierarchical markers that influence chromatic choices in costume design. In costume studies, we reference authors such as Fausto Viana, Isabela Veloso (2018), Jurandir Pereira (2023), Enéias Tavares (2017), Paulo Debom (2020), Ligia Andreo, Márcio José, and Michel de Oliveira (2014). These scholars underpin our approach to costumes as a total communicative instrument and a metalinguistic exercise. Clothing is understood here as an object of historical study, reflecting ideals of belonging and social class segmentation. For the performer or dancer, the body becomes the medium for a non-verbal discourse, serving as the starting point for movement and the construction of the syntax of this artistic language.