O Pensar dramatúrgico como chave para descentralizar a criação coreográfica do estúdio de dança.

Contemporary dance's diverse poetics has been allowing the development of wide range of investigations about the creative process of this aesthetic practice. Among them lies a questioning about the embodied activities carried out by the dancers that aim to train or prepare the body for the creation process. This paper belongs to this universe that examines the practices that are beyond the technical and creative work centralised within the dance studio. Through the creation of a contemporary dance solo, this paper describes and analyses the activities of performer training and poetic sensitivity developed by the performer in her daily practices, and how they influenced the dramaturgy of the creation. We concluded that the choreography was created through a dramaturgical thinking of organising the intensities and energies generated in the performers' embodied practices. In this way, the discussion developed throughout this paper, associated to the thinking of Behrndt (2016), Scialom e Fabrini (2019), Gouveia (2012), Ostrower (2014) e Louppe (2012) intends to support the decentralisation of the creative process from the dance studio to include the daily routines of the artist-creator as part of the practice of creating a performance, evidencing the procedures used to do so.