ESCRAVAGINA: TRANSEXUAL BODY AS PARRESIASTIC BODY

Abstract

This article deals with the gender transition story of the actress Maite Schneider, told in the play "Escravagina", by Cesar Almeida. The text tells the psychosocial development of the boy Alexandre until he becomes Maite Schneider, the first actress of the theatrical company A Rainha de 2 Cabeças, Almeida’s independent group. The text is analyzed from the transitions present in The Gender Performance, as proposed by BENTO (2017), to then suggest an analysis of transsexuality that takes the trans body as a parresiastic body (FOUCAULT, 2013). The notion of performance, that sustains the analysis, is inextricably linked to the Theory of Theatrical Performance which outlines the dramaturgy of the play "Escravagina". Both, gender performance and theatrical performance because they are notions based on the subjects' psychic truth and are connected to the notions of parresia, veridiction and power, present in the foucaultian work.

KEYWORDS: Parrhesia; Body; Transexuality; Escravagina.