Throughout the creative processes to produce and promote research areas in contemporary performing arts, it is imperative to delve into the use of language in theory and practice. Correspondingly, the following paper develops a thorough analysis on the experimentation about the potentiality of the gaze as a translator and developer of methodologies and poetics of performing, in correspondence to the current academic and socio-cultural context. The research paper touches on three intrinsic moments of the experience.

First: the implementation of a methodology during an experimental laboratory. It is proposed the research through action and the gaze as a translation system, exercising the attention of the scientist, who observes and systematizes, with the attention of the mouse, who acts from an individual intuition. These two attentions work simultaneously and cohabit the performing researcher’s body (their physicality, memory and context) in constant relation to other bodies, the architectures and time, taking into account that any translation must be built on a principle and the possible variables that influence this principle.

Second: the approach of a translator’s gaze on the performing potentials in real time. To deviate the act of gazing from its passive essence – alienated from linguistic communication – towards an active one, as a translator of mental processes according to a real-time composition of the principles that appear through the course of the experience. The gaze is suggested as a coordinator of dramaturgic principles from the potential generated in the materials testing for the poetic composition of these materials.

Finally, the use of the gaze as an experience translator and affection developer in the performers and the public: to think about the gaze from its nature as interpersonal communicator and producer of singularities in the performing scene participants.

These three moments will allow the development of a new gaze which detonates in a specific manner of performing a scene and influencing its process and structure. Thus, a creation and investigation method that allows the establishment of a technical discourse for performing arts.