Universidade Federal Do Rio De Janeiro – Ufrj Escola De Comunicação Programa De Pós-Graduação Em Artes Da Cena

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Universidade Federal Do Rio De Janeiro – Ufrj Escola De Comunicação Programa De Pós-Graduação Em Artes Da Cena UNIVERSIDADE FEDERAL DO RIO DE JANEIRO – UFRJ ESCOLA DE COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES DA CENA – PPGAC NÍVEL MESTRADO MARIA LUCAS PEREIRA VALENTIM DO CÍLIO A NAVALHA: montação na cena carioca Texto apresentado para qualificação no Programa de Pós-Graduação em Artes da Cena da Universidade Federal do Rio de Janeiro, como requisito parcial para obtenção do título de mestre. Orientador: Prof. Dr. Manoel Silvestre Friques Rio de Janeiro 2019 2 Maria Lucas Pereira Valentim DO CÍLIO A NAVALHA: montação na cena carioca Aprovada em: 23/12/2019 Aprovada por: Prof. Dr. Manoel Silvestre Friques (orientador) Prof. Dr. Samuel Sampaio Abrantes (EBA/UFRJ) Prof. Dr. Caio Arnizaut Riscado (ECO/UFRJ) Prof. Dra. Jaqueline Gomes de Jesus (IFRJ) 3 VALENTIM, Maria Lucas Pereira. Do Cílio á Navalha: montação na cena carioca / Maria Lucas Pereira Valentim-- Rio de Janeiro: UFRJ/ECO, 2019. 161 f. Dissertação (Mestrado em Artes da Cena) – Universidade Federal do Rio de Janeiro, Escola de Comunicação, 2019. Orientador Manoel Silvestre Friques. 1. Performance. 2. Questões de Gênero. 3. Drag Queen. 4. Montação. I. FRIQUES, Manoel Silvestre. II. ECO/UFRJ III. Artes da Cena IV. Do Cílio á Navalha 4 Figura 1: Capa Dissertação, realizada pela própria autora. 5 O século XXI é um século estético. Na história, há eras da razão e eras do espetáculo, e é importante saber em que era você está. Nossa América, nossa internet não é a Atenas antiga. É Roma. E seu problema é que você pensa que está no fórum quando está realmente no circo. (Natalie Wynn, 2018) 6 Resumo Esta pesquisa pretende, a partir da análise de distintas práticas de “montação”, compreendê-las e relacioná-las a fazeres que buscam fugir do binarismo de gênero vigente em nossa sociedade. Configura-se como uma cartografia pautada por espacialidades e corporeidades oriundas da prática do travestimento na cidade do Rio de Janeiro atual. Busca-se, a partir da vivência da pesquisadora como artista que participa da cena local, realizar uma análise não só de seu próprio trabalho, mas também de outros artistas da atualidade. Para isso, recupera também a história da travestilidade no Rio de Janeiro, por meio de espaços físicos e artistas de outrora que pavimentaram alguns caminhos para a cena contemporânea. O processo de criação e execução desta pesquisa se traduz, primeira e principalmente, na prática artística de quem a escreve: uma artista que, a partir da arte do transformismo, passa a se compreender como uma pessoa trans. O conjunto de espaços, artistas e momentos históricos discute questões relacionadas aos conceitos de gênero e de performance como alicerces que caminham na construção e na manutenção de uma cena de contornos marginalizados em relação à cultura dominante e à Academia. Palavras-Chave: Artes Cênicas, Performance, Estudos de Gênero, Transgeneridade, Travesti, Queer, Cuir, Drag Queen 7 Abstract This research aims to analyse, understand and compare different drag queens’ practices as actions that seek to escape our socienty’s gender binarism. It is a cartography based on spatialities and corporealities arising from the practices of transvestite in contemporary Rio de Janeiro. Based on the experience of the researcher – as an artist who participates in the local scene – this study focuses also on a range of contemporary non-binaries artists. To do so, it also recovers the history of transvestism in Rio de Janeiro, through physical spaces and artists of the past that paved some paths for the present scene. The process of creating and executing this research translates, first and foremost, into the artistic practice of the writer: a drag queen artist who comes to understand theirself as a trans person. The set of spaces, artists and historical moments discuss issues related to the concepts of gender and performance as foundations that lead to the construction and to the maintenance of a scene of marginalized contours in relation to the dominant culture and the Academy. Keywords: Performing Arts, Performance, Gender Studies, Transgender, Queer, Cuir, Drag Queen 8 9 Agradecimentos (após finalizar meu look colando longos cílios postiços, gostaria de agradecer pelo percurso e pela concretização deste trabalho) À Manoel Silvestre Friques, que chegou, de forma assertiva, horizontal e propositiva, engenhando e coordenando a orientação do meu projeto e garantindo minha permanência no Programa de Pós Graduação em Artes da Cena. Obrigada por ajudar a me entender como um Corpo Estranho, a partir de tantos direcionamentos e inspirações com a força capricorniana de seu ascendente de origem até então desconhecida. À Beth Jacob, coordenadora do programa de Pós Graduação no qual estou inserida, pelo afeto e pela generosidade em compreender que as questões da vida afetam a academia (e a arte) e vice e versa. À Caio Riscado, Uma Bicha Miúda, porém potente em sua grandeza teatral contemporânea. Obrigada pelos Esforços nos seus trabalhos pessoais, dos quais sou fã desde tempos remotos, e pela brilhante presença nessa banca composta colorida e diversa como um Sonho TransViado e Alterosa. À Samuel Abrantes, a.k.a. Samile Cunha, pela sua presença divônica e maravilhosa nessa parte final, e de conclusão, do mestrado. Obrigada pelas Transconexões na arte-vida. Á presença transdisciplinar de Jaqueline Gomes de Jesus, uma mulher que me inspira por toda sua luta e presença constante em variados âmbitos e meios do transativismo; aprender te ouvindo e te lendo faz sentir-me especial nesse momento, ao saber que você esta em contato com minha dissertação, que se conclui como um diário cartografado e dissertativo. --- Existem vivências não-cisgêneras que fazem com que somente nós possamos compreender umas as outres. --- À Maria do Carmo, ou D. Carminha, mulher nordestina leonina e guerreira. Colocou-me nesse mundo e sempre busca compreender minha existência fora dos padrões exigidos socialmente. Ao Padre Luís Corrêa e Lima e ao Grupo Diversidade Católica, pelo amparo e pela força que dão para minha querida mãe. À Haus of Deboche (Maybe Love, Linda Mistakes & Delirious Fênix), minha família drag que comprova que afetos não sanguíneos podem e precisam ser (e são!) de extrema importância para corpos não normativos. Viva a arte drag e burlesca! À Maíra Barillo pela amizade conquistada no mestrado e ampliada para outras zonas da/na vida. À Gênesis, por todo amparo e impulsionamento desde quando o mestrado e o fazer drag eram apenas elocubrações em minha mente (e meu corpo como um todo). 10 À Marcio Januário, que, ao ver em mim uma potência na travestilidade, me motivou a jogar-me de cabeça em tal ação. À Jezebel de Carli e Silvero Pereira: sem ter participado da residência artística de vocês no Teatro Poeira, minha corpa não teria se lançado no caminho da montação. Agradecimento especial também para Ana Luiza Bergmann e Rafael Barbosa, seus apontamentos sobre suas pesquisas, uma na arte da Bufoaria e a outra no campo da Dramaturgia, auxiliaram a plasmar minhas indagações em outras, possíveis, interfaces. À Luiza Frizzo: pelo computador que me presenteou e onde eu pude ler, escrever e concluir esse processo de escrita. Não seria possível concluir os presentes escritos sem seu sensível e potente apoio. À Juracy de Oliveira, por me impulsionar dizendo; “vai bicha, a senhora é maravilhosa!”. À Victor Newlands: a experimentação prática em seu projeto de pesquisa foi de grande importância para minha manutenção e estadia na Pós Graduação, pois para ser uma corpa atuante, é preciso de extremo esforço físico e mental. À todes artistas da montação – precisamente envolvides nos eventos “Queens O Concurso”, “Rival Rebolado”, “Yés Nós Temos Burlesco”, “Cabaré Diferentão”, “Transformistas Medicadas” – por todas as trocas necessárias para minha vivência artística e para o processo de pesquisa dessa dissertação. Às tantes que passaram e passam na minha trajetória de vida-academia-arte: Bem Medeiros, Pri Bertucci, Aretha Sadick, Betch Cleiman, Fabiano de Freitas (Dadado), Davi Giordano, Adriano Guimarães, Vanessa Garcia, Júlia Vargas, Mateus Muniz, Leo Paixão, Piton Niza, Larissa Andrade, Betina Polaroide, Miami Pink, Dávila Pontes, Daniel Castanheira, Luciana Bezerra, Laudeci Queiroz, Lucas Gibson, Renata Ferrer, Tata Barreto, Miranda Lebrão, Fábio Ferreira, Marco a.k.a. Efemera, Rafael Bqueer a.k.a. Uhura Bqueer, Dan Venturi a.k.a. A Dita, Cami Carrelo a.k.a. Wendel Cândido e Thadeu dos Anjos a.k.a. Thizy Nebulosa. Aos movimentos, grupos e espaços que, de alguma forma, colaboraram para que este trabalho se desenvolvesse: Le Circo de la Drag, Turma OK, Drag-Se, SsexBbox, Marcha do Orgulho Trans da Cidade de São Paulo, PopPorn, Mostra Bosque, Mães Pela Diversidade, Corpos Visíveis, Cabaret da Cecília, Gataria Photography, Piratas de Gênero, Die in the House, Reduto, Miúda – Mostra Esforços. 11 Aos espaços onde pude, até o presente momento, conquistar o lugar de estudo acadêmico e ampliar meus conhecimentos nesse espaço de contradições que é a academia: Pontifícia Universidade Católica do Rio de Janeiro (PUC-RJ), Universidade Federal do Estado do Rio de Janeiro (UFRJ), Universidad Autonoma de Madrid (UAM), Universidad Nacional de Colombia – sede Bogotá (UNAL) e Escola de Artes Visuais do Parque Lage (EAV – Parque Lage). Não poderia deixar de mencionar e agradecer: Projeto FESP, Banco Santander, CCCI - PUC Rio, PET-LET PUC-Rio, Vice Reitoria Para Assuntos Acadêmicos PUC - Rio, sendo estes grupos e instituições que auxiliaram com bolsas de estudo e manutenção ao longo de todo esse largo processo. Aos grupos de teatro Nós do Morro (Vidigal) e Roça Caça Cultura (Rocinha), onde pude, ainda prematuramente, iniciar meus passos na vida artística. À tantes outres que, nesse processo de pesquisa e estudo, tomei conhecimento da transviada existência, sendo essas corpas de outros lugares e/ou épocas distintas à minha, mas que, com certeza estão ao meu lado, pois somos anjas-da-guarda umas das outras: Em primeiríssimo lugar, dedico a Luma Andrade e Claudia Celeste, uma sendo a primeira travesti doutora no Brasil e a outra a primeira atriz trans a participar de telenovelas nesse país! Mas também á Hija de Perra, Rose Wood, Claudia Wonder, Susy Shock, Mario Mieli, La Prohibida, Marsha P.
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