From the writing of this thesis, I propose a reading of the body that can be configured either through ancestral narratives (orikis) or through contemporary poetry (object of research of this thesis). In addition to this perspective, I demarcate the importance of the transition between what is recorded by the word and the voice of those who read it, transforming this poetic writing into performance as an act of reading. In this sense, these two movements are crossed throughout this writing process through the eyes of a body that is analyzed from two perspectives: poetic orality and performative orality. Poetic orality can be found, at first, from the formation of the orikis (ori = head, Ki = greeting), a genre approached as one of the several literary traditions of Yoruba orality that are also sources of research for the writing of some poems by the authors who are objects of research in this thesis. In this case, the works of André Capilé and Ricardo Aleixo, both poets of the contemporary generation of Brazilian literature, provide a vast material for thinking about the body configured by the figure of the storyteller, by the poet s experience and by the body of the text as its formal aspects. However, the body and its unfolding in the face of performative orality can also be analyzed from a perspective similar to that of Diana Taylor (2013). In this case, the body can be considered from the perspective of an archive, thus seeking the preservation of oral culture. The body then becomes the spokesperson of the author himself while writing, but also the one that also implies movement when reading poetry. In this way, giving the reader what Zunthor (1995) considers a recomposed oral dimension, in which the body, in order to commit itself to poetic making, needs to be in motion. To this end, I will start from a dialogue with the works of André Capilé and Ricardo Aleixo, both corpus of this work as an object of research, and the theoretical references that constitute the instrument of analysis from the writing of four essays that provide an in-depth look at the cut of the problem to be presented. In a first essay or introduction to this thesis, I will make a brief presentation on the concepts of oriki, narrative and performance so that we can understand, in the later chapters or essays, in which dimensions are the bodies analyzed and presented through the poems of the authors studied here. In a second moment, corresponding to the second chapter or third essay, I will focus on the works Festim (1992), The Wheel of the World (1996), Who Makes What (1999), Trivio (2001), Zero Machine (2004), Mundo paverreado (2013), Impossible as never to have had a face (2016), Antiboi (2017), Extraquadros (2021) and Diário da Encruza (2022) by Ricardo Aleixo, in an attempt to analyze this body from the perspective of the construction of the performance itself.