Sou José, sou Maria: efeitos trans(gressores) no espetáculo Escravagina, da companhia Rainha de Duas Cabeças

Abstract

This research analyzed the transgressive effect of artistic genre, gender identity, sexuality and social behavior presented in the play Escravagina, produced by the group Rainha de Duas Cabeças, from Curitiba/PR, a theatrical production premiered in 2014. The play counts on the dramaturgy and direction of Cesar Almeida, as well as the performance of the actress Maite Schneider. The show narrates the personal story of the actress who underwent a process of transsexualization. In the play, the standards of body beauty are discussed, as well as the normative institutions and regulators of sexuality, gender, sexual orientation, desire and social behaviors imposed. We seek to understand the way in which the artists used the technologies and techniques of scene, that is, the constituent elements and procedures for the production of the theatrical spectacle, with the purpose of transgression (FOUCAULT, 2009) of socially established notions on identities focused on polarities or fixed identities. Our research pointed to the use of traces of the grotesque and carnivalization (BAKHTIN, 2013), of kitsch (MOLES, 1975), the irony, parody and intertext (HUTCHEON, 1991), the cultural hybridity (CANCLINI, 2013), the Business gay (LIPOVETSKY, 2015), paradox (COMPAGNON, 2010) and the profanation (AGAMBEN, 2007) perceived by means of elements and procedures that include one or multiple scene techniques/technologies to achieve the desired effect. Our research also questioned the approximations between body and technology and their relation with transsexuality. For this, the study was based on the methodology of Analysis of Spectacles (PAVIS, 2015) and Matricial Analysis (BRITO, 1999). The primary materials of analysis were the video of the theatre show and the theatrical text. As secondary material, we used interviews with the artists (in 2015 and 2016), the advertising material, the advertising paratext, the itinerancy journals and the notes taken by the researcher herself during the on-site observation of the theatre show assisted in 2016.