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Danilo CAPA-Dissertacao-Mestrado-ICS Universidade do Minho Instituto de Ciências Sociais Danilo Pedrazza “A Sua Voz Não Está Mais Escondida”: Representações Artísticas e Políticas da Drag Queen Pabllo Vittar na Mídia “A Sua Voz Não Está Mais Escondida”: Sua Voz “A Representações Artísticas Vittar da Drag Queen Pabllo na Mídia e Políticas Danilo Pedrazza UMinho | 2019 Outubro de 2019 Universidade do Minho Instituto de Ciências Sociais Danilo Pedrazza “A Sua Voz Não Está Mais Escondida”: Representações Artísticas e Políticas da Drag Queen Pabllo Vittar na Mídia Dissertação de Mestrado Mestrado em Comunicação, Arte e Cultura Trabalho realizado sob a orientação da Professora Doutora Silvana Mota-Ribeiro Outubro de 2019 DIREITOS DE AUTOR E CONDIÇÕES DE UTILIZAÇÃO DO TRABALHO POR TERCEIROS Este é um trabalho académico que pode ser utilizado por terceiros desde que respeitadas as regras e boas práticas internacionalmente aceites, no que concerne aos direitos de autor e direitos conexos. Assim, o presente trabalho pode ser utilizado nos termos previstos na licença abaixo indicada. Caso o utilizador necessite de permissão para poder fazer um uso do trabalho em condições não previstas no licenciamento indicado, deverá contactar o autor, através do RepositóriUM da Universidade do Minho. Licença concedida aos utilizadores deste trabalho Atribuição CC BY https://creativecommons.org/licenses/by/4.0/ i “Se tu brilha, se tu brilha, brilha assim; Não fale mal dos outros, não fale mal de mim; É só o começo, não espere pelo fim; Vou degustar a vida como um copo de gim; Ela não para, dança; hoje ninguém duvida; Ela manja da ganja; ela esbanja vida; A SUA VOZ NÃO ESTÁ MAIS ESCONDIDA; Canta pro mundo; Arrasa, amiga, sim, vai!” Urias, 2018 ii AGRADECIMENTOS Principalmente, a minha mãe, Sandra Regina Castro de Aguiar, a minha irmã, Ianna Pedrazza e minha mãe do coração Kika (Denise Freitas), por todo apoio nessa caminhada, por todo o incentivo e amor. Mais do que a minha metade, parte de mim: Larissa Stepanow! Obrigado por me aguentar nesses 20 anos e pelo resto de nossas vidas! Luana Martins, obrigado pela amizade nessa trajetória, e por me ajudar em um dos momentos mais difíceis da minha vida. Obrigado as manas e manos de Portugal, Gabriel Flambo, Dona Ali, Claudia Gomes, Victória Quartieri, Marjorie Denardi e Ricardo Cabral. A Vitória Crespo pelo reencontro dessa amizade maravilhosa depois de 10 anos e que nesses últimos meses serviu de suporte para eu aguentar essa fase. Aos melhores do Brasil, Gabriel Lunks e Vinicius Sparremberger. A todas as drag queens que me ajudaram durante este estudo, mas, principalmente, a Vitz (Victor Gyurkovitz), que além de uma grande mana, foi uma das principais inspirações e me prestou auxílio em todos momentos, obrigado pelo carinho. Durante a trajetória desse mestrado, foi na U Minho que consegui pessoas que irei levar para a vida inteira. Obrigado a Graciele de Jesus e Silva, Marcelo Balbino, Priscila Rossini, Liana Wagner e Morena Panciarelli, por todo suporte, apoio e amizade, vocês são demais, e se existe algo que eu tenho orgulho além desta dissertação é da amizade de vocês. A professora Silvana Mota-Ribeiro, que embarcou comigo nessa dissertação completamente “fora da caixa”. Nosso encontro foi em um momento crucial e quando eu mais precisava de salvação. Agradeço o carinho e acolhida, e, principalmente, as nossas orientações com as melhores conversas, risadas e ainda regadas com vinho do Porto. Obrigado professora por todo suporte, atenção e amizade. Se esta dissertação existe, foi principalmente por conta dos professores, mestres e doutores que tive em minha vida. Agradeço as minhas professoras na faculdade ESPM-Sul: Rosangela Florczak e Roberta Sartori, obrigado por tudo. Mas, principalmente, a minha eterna professora, mestra da minha vida, rainha do meu coração, minha maior inspiração e salvadora, eterna orientadora e amiga, Adriana Kurtz, sem você, nada disso seria possível. Obrigado minha mestra, por esses oito anos de amizade, carinho e conhecimento. Eternamente grato! Agradeço também a toda equipe que trabalha com a Pabllo. Yan Hayashi, Leocádio Rezende, Rodrigo Gorky, Flávio Verne e Polyanna Rodrigues. Conhecer vocês foi maravilhoso, agradeço por me ajudarem a realizar esse sonho. E por último, mas não menos importante, a Pabllo Vittar: obrigado mana, por ter me salvado no momento em que mais precisei, por me dar apoio e forças para lutar, por toda a inspiração, e, principalmente, por me mostrar que sou indestrutível e que a nossa voz não está mais escondida. Ahazamos. iii DECLARAÇÃO DE INTEGRIDADE Declaro ter atuado com integridade na elaboração do presente trabalho académico e confirmo que não recorri à prática de plágio nem a qualquer forma de utilização indevida ou falsificação de informações ou resultados em nenhuma das etapas conducente à sua elaboração. Mais declaro que conheço e que respeitei o Código de Conduta Ética da Universidade do Minho. Universidade do Minho ___/___ /___ Danilo Pedrazza Assinatura: _____________________________ iv RESUMO “A Sua Voz Não Está Mais Escondida”: Representações Artísticas e Políticas da Drag Queen Pabllo Vittar na Mídia A arte drag queen existe desde a Antiga Grécia, contudo, depois de séculos sendo desprezada, é apenas nas últimas décadas que a artista drag queen ganha espaço na mídia e na sociedade. Este estudo busca identificar as representações artísticas e políticas da cantora drag queen brasileira Pabllo Vittar na mídia internacional. Para analisar tais representações, esta dissertação explora conceitos que envolvem a história da arte drag queen, gênero, homossexualidade e drag queen no Brasil, mídia, jornalismo, celebridades e representações sociais. Para tratar esses temas são utilizados autores como Amanájas (2014); Baker (1994); Biroli (2011); Bordin (2015); Butler (2003); J. S. Trevisan (2018); Kellner (2001); Louro (2018); M. K. Trevisan (2011); M. V. da Silva (2014); Martino (2009); Mccombs (2009); Morin (2011); Raposo (2015); Rojek (2008); Soares (2015) e Vencato (2002). A respeito da metodologia adotada, a perspectiva epistemológica é crítica, a abordagem é qualitativa, o tipo de estudo é exploratório, as técnicas de coleta de dados são pesquisa bibliográfica e estudo de caso e a técnica de análise de dados é análise de conteúdo proposta por Moraes (1999). O corpus de pesquisa é composto por 70 reportagens de 24 veículos que englobam jornais, revistas e portais de notícias dos Estados Unidos, Inglaterra, Canadá e Espanha. O período de seleção do corpus é de 2017, quando aparecem as primeiras narrativas sobre Pabllo, até julho de 2019. A análise é dividida em duas categorias (carreira artística e política) e em 10 subcategorias. Foi constatado que Pabllo Vittar é representada na mídia internacional como um caso de sucesso e superação. A partir de seu êxito comercial e artístico, Pabllo é uma agente de mudança em busca do respeito e reconhecimento da arte drag. Em sua vertente política, Pabllo é o maior símbolo gay do Brasil, país que mais mata LGBTQ+ do mundo e que em 2018 elegeu como Presidente Jair Bolsonaro, parlamentar de extrema direita conhecido por seu discurso homofóbico. Dessa maneira, Pabllo é representada tanto como uma artista pop de sucesso como uma forte ativista da comunidade LGBTQ+. Palavras-chave: drag queen; LGBTQ+; mídia; representação; Pabllo Vittar. v ABSTRACT “Her Voice Is No Longer Hidden”: Artistic and Political Representancions of the Drag Queen Pabllo Vittar in the media Drag queen art has existed since Ancient Greece, but after centuries of being scorned, it is only in last decades that the drag queen artist gains space in the media and society. This study tries to identify the artistic and political representations of the Brazilian drag queen singer Pabllo Vittar in the international media. To analyze such representations, this master thesis explores concepts that involve the history of drag queen art, genre, homosexuality and drag queen in Brazil, media, journalism, celebrities and social representations. To treat these themes are used authors such as Amanájas (2014); Baker (1994); Biroli (2011); Bordin (2015); Butler (2003); J. S. Trevisan (2018); Kellner (2001); Louro (2018); M. K. Trevisan (2011); M. V. da Silva (2014); Martino (2009); Mccombs (2009); Morin (2011); Raposo (2015); Rojek (2008); Soares (2015) e Vencato (2002). Regarding the methodology adopted, the perspective epistemological is critical, the approach is qualitative, the type of study is exploratory, the data collection techniques are bibliographic research and case study and the data analysis technique is content analysis proposed by Moraes (1999). The research corpus consists of 70 reports from 24 vehicles comprising newspapers, magazines, and news sites from the United States, England, Canada, and Spain. The period of corpus selection is from 2017, when the first narratives about Pabllo appeared, until July 2019. The analysis is divided into two categories (artistic career and politic) and in 10 subcategories. It was proven that Pabllo Vittar is represented in the international media as a case of success and overcoming. From its commercial and artistic success, Pabllo is a change agent seeking respect and recognition for drag art. In his political side, Pabllo is the biggest gay symbol in Brazil, the country that most kills LGBTQ + in the world, and in 2018 elected as President Jair Bolsonaro, far-right parliamentarian known for his homophobic speech. In this way, Pabllo is represented as both successful pop artist and strong activist from the LGBTQ + community. Keywords:
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