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A Construção Da Identidade Feminina Na Série Grey's Anatomy

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A Construção Da Identidade Feminina Na Série Grey's Anatomy TÍTULO: AS TRÊS MULHERES: A CONSTRUÇÃO DA IDENTIDADE FEMININA NA SÉRIE GREY’S ANATOMY CATEGORIA: EM ANDAMENTO ÁREA: CIÊNCIAS SOCIAIS APLICADAS SUBÁREA: COMUNICAÇÃO SOCIAL INSTITUIÇÃO: FACULDADE CÁSPER LÍBERO AUTOR(ES): JULIANA AVILA GRITTI ORIENTADOR(ES): SIMONETTA PERSICHETTI 1. RESUMO O presente artigo busca discutir a construção do feminino e da feminilidade na série de drama médico Grey’s Anatomy, através da análise de três de suas personagens: Meredith Grey (Ellen Pompeo), Cristina Yang (Sandra Oh) e Miranda Bailey (Chandra Wilson). 2. INTRODUÇÃO Grey’s Anatomy, criado e produzido pela escritora Shonda Rhimes, começou a ser exibido pelo canal ABC (EUA) em 2005, e em maio de 2017 finalizou sua 13ª temporada, com contratos fechados para a próxima. Desde o início se manteve entre as séries mais assistidas da televisão norte-americana, apesar de eventuais quedas de audiência. Aqui será analisado o desenvolvimento do drama até a sua 11ª temporada. De maneira geral, o sexo feminino é tratado de modo unidimensional e secundário no cinema e na televisão; e a priori as três mulheres de Grey’s Anatomy também se encaixam nessa lógica. Um dos questionamentos deste trabalho foram as mudanças na construção dessas personagens ao longo dos anos. E posto que o seu público são adultos de 18 a 49 anos, sendo 76% mulheres, é preciso pensar a importância da série na construção do imaginário feminino sobre o que é ser mulher. Ainda que a trama de Shonda Rhimes não se aprofundasse em críticas a respeito de papéis de gênero (o que se prova verdadeiro), continuaria relevante por apresentar mulheres em uma profissão como a Medicina, tradicionalmente dominada por homens. Inclusive colocando-as em cargos de chefia dentro do hospital no qual o enredo se desenvolve. Rhimes, quando questionada no programa Good Morning America sobre a elaboração de personagens femininas tão fortes, respondeu: “A alternativa são mulheres fracas e tolas? Eu não conheço nenhuma assim. E ninguém pergunta ‘como você cria homens espertos e fortes?’“. 3. OBJETIVOS Esta pesquisa analisa como as personagens femininas são construídas em uma das séries de maior destaque nos últimos anos, buscando entender o quanto podem impactar o imaginário de suas telespectadoras, que com frequência se espelham em figuras ficcionais para conduzir a própria trajetória. O quanto delas, fragmentos da criatividade de uma terceira pessoa, existe nas mulheres reais? 4. METODOLOGIA Para a realização deste artigo, foram realizadas as leituras de O Segundo Sexo, um clássico de Simone de Beauvoir conhecido como as bases da teoria crítica de gênero, e A terceira Mulher, de Gilles Lipovetsky. As duas obras, separadas por décadas, dialogam e se complementam, tornando possível entender as mudanças e permanências na condição feminina ao longo do tempo. Ademais, foram vistas as primeiras onze temporadas da série. 5. DESENVOLVIMENTO A primeira personagem analisada é Meredith Grey, cuja história amarra a série. Meredith é determinada a partir de dois fatores principais: a princípio, sua relação conturbada com a mãe, uma médica de muito sucesso que acaba desenvolvendo Alzheimer precoce. Depois, quando conhece Derek Sheperd (Patrick Dempsey), a sua trajetória passa a ser definida muito mais em torno do relacionamento amoroso dos dois. Meredith é a personificação do conceito da “terceira mulher”, cunhado por Lipovetsky. É a mulher que se emancipou em relação ao próprio corpo e ao próprio destino, mas ainda carrega traços da “segunda mulher”, movida pelo amor romântico e ciente de sua feminilidade. Cristina Yang é a profissional obcecada com a carreira, ao mesmo tempo em que diz desprezar tudo que é feminino. Ela se alinha, portanto, com a primeira onda do feminismo, que buscou romper completamente com os conceitos de gênero. Miranda Bailey é a mulher que precisa se endurecer e, de muitas maneiras, se “masculinizar” para ganhar o respeito de seus colegas de trabalho. Nesse contexto, qualquer demonstração de feminilidade coloca sua competência em cheque. A situação se encaixa no conceito de Simone de Beauvoir sobre a mulher ser sempre “o outro” do homem, e nunca um sujeito autônomo. 6. RESULTADOS PRELIMINARES A primeira conclusão, mais evidente, é o crescimento das personagens ao longo das temporadas. Todas elas ganham novos contornos, mais palpáveis ao universo real. Dentro das limitações de uma representação televisiva, que conta com inúmeros personagens e histórias diversas comprimidas em um intervalo de 42 minutos semanais, Grey’s Anatomy cumpre responsavelmente a função de retratar o que é ser mulher. Meredith, Cristina e Miranda, em última análise, são uma só; representam as diferentes facetas que cada mulher pode ter em diferentes momentos, dentro da pluralidade e da complexidade de sua existência. 7. FONTES CONSULTADAS BEAUVOIR, Simone de. O Segundo Sexo. 1ª edição. São Paulo: Editora Nova Fronteira, 2016. CARTER, Bill. “ABC Viewers Tilt Female for a Network Light on Sports”. 2013. Disponível em: <http://www.nytimes.com/2013/12/18/business/media/abc-viewers- tilt-female- for-a- network-light-on- sports.html>. LIPOVETSKY, Gilles. A terceira mulher: Permanência e revolução do feminino. São Paulo: Companhia das Letras, 2000. LIPOVETSKY, Gilles. “Nos últimos 50 anos, a condição feminina mudou mais do que a soma dos últimos milênios”. 2017. Disponível em: <http://www.fronteiras.com/artigos/gilles-lipovetsky-lnos-ultimos-50-anos-a-condicao- feminina-mudou-mais-do-que-a-soma-dos-ultimos-milenios>. Último acesso em: 22/08/2017. Revista Cult, São Paulo, ano 18, número 207, págs. 11-20, novembro de 2015. Audiência nos EUA baseada na primeira transmissão. Disponível em: <http://www.adorocinema.com/series/serie-274/audiencias/>. Último acesso: 31/08/2017. Shonda Rhimes Talks Strong Women, Weak Men and Setting an Example for Her Daughters. <http://abcnews.go.com/Entertainment/shonda-rhimes-talks-strong- women-weak-men-setting/story?id=25582749>. Acesso em 31/08/2017. .
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