EnCUziTRAVAS Cênicas, Po/Éticas y Identitárias: FRACASSAS Cistêmicas y Sint/Éticas confeccionadas pelas TRANSfugyas de raça, gênero y sexualidade – BYXAlidades, TRAVESTYlidades y TRANSVESTYgeneridades nas Artes da Cena

• Ano de defesa: 2024
• Autor(a) principal: Sulurico, Whander Allípia
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso embargado
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em Artes Cênicas
• Palavras-chave em Português: enCUziTRAVAS; Fracassas; Failures; Po/éticas; Poetics; Performatividades; Performativities; Raça; Race; CNPQ::LINGUISTICA, LETRAS E ARTES; Artes Cênicas; ODS::ODS 5. Igualdade de gênero - Alcançar a igualdade de gênero e empoderar todas as mulheres e meninas.
• Link de acesso: https://repositorio.ufu.br/handle/123456789/44837; http://doi.org/10.14393/ufu.di.2025.5002

The research outlined here, through the artificialities of a failed subject, unfolds an urgency in investigating the identity and poetic scenic performativities of black-female-testiculated bodies. By examining and asserting that we, black-female-testiculated individuals and/or Byxa-Travesty-ByxaTravesty-Tansbyxa-Tranvestygênera, employ scenic arts for both our identity constructions, which are artificial, and for our scenic compositions, it can be affirmed that we only exist because scenic arts exist. Simultaneously, doubts arise from this assertion such as "What are the differences between everyday transvestygenera performativity and scenic transvestygenera performativity? What modifications are elaborated? What do we literally bring to the scene? What is the scene?" By provoking disobediences in perspectives of race, gender, and sexuality, black transvestygenera subjects fabricate enCUziTRAVAS from systemic, scenic, and identity failures. With the rupture of the heteronormative perspective, we, black-female-testiculated individuals, tend to be interpreted and analyzed as systemic aberrations, since we devise other possibilities to compose life and the scene. Similarly, our identity constructions are scrutinized as synthetic productions; in other words, our bodies are perceived as artificial fabrications, hence, indicating a proximity of these subjects with scenic arts. The objective of this research was to architect the stretching of what scenic arts can encompass, to configure the possibilities of graphing Scenic, Identity, and Poetic enCUziTRAVAS, from the failures and epistemologies, passivities, and policies of the CU. Thus, the research does not conclude anything, but rather invents attempts and testings so that readers construct their own understandings of these procedures. With a Failed, Byxa, Travesty, Cuir, and Afrotransfeminist perspective, the methodology developed through autoethnographic research, establishing an approximation with theoretical and practical discussions. Fabricating more than a master's dissertation, but a scenic and literary experience divided into seven volumes, which fail narratives, poeticities, and discursivities, starting from the experiences of the author as a black-female-testiculated individual. It analyzes, candidly, the intersections between scenic arts and disobediences of race, gender, and sexuality, promoting collaborations for academic productions in the field of scenic arts and proposing evocations of byxaries, byxalities, travestyities, and transvestygenerities that have been silenced and erased by this system.