The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock

Detalhes bibliográficos
Autor(a) principal: Martínez, Ariel
Data de Publicação: 2020
Outros Autores: Mora, Ana Sabrina
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Revista Brasileira de Estudos da Presença
Texto Completo: https://seer.ufrgs.br/index.php/presenca/article/view/102024
Resumo: Considering the scenic performances of the artist Susy Shock, and in particular the stage presentation she makes of a so called monstrosity that maintains a series of elements that make up a scenic performance where the monstrosity can break into the field of intersection and conjugation, we offer some epistemological thoughts about the limits of identity representations versus stage presentations. Her poetic performances include songs of musical genres of Argentine folklore (vidalas, coplas, tangos), through the appropriation of a traditional cultural product in the voice of a transgender person. This produces the visibility of a radical alterity in the simultaneous presentation of elements that can only be recovered from the intersectionality that is released in the ground of presentation, where all the elements break into overlap at the same time and in the same place.
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spelling The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy ShockTransvestite Stage PerformanceIntersectionalityConjunctionRadical AlterityConsidering the scenic performances of the artist Susy Shock, and in particular the stage presentation she makes of a so called monstrosity that maintains a series of elements that make up a scenic performance where the monstrosity can break into the field of intersection and conjugation, we offer some epistemological thoughts about the limits of identity representations versus stage presentations. Her poetic performances include songs of musical genres of Argentine folklore (vidalas, coplas, tangos), through the appropriation of a traditional cultural product in the voice of a transgender person. This produces the visibility of a radical alterity in the simultaneous presentation of elements that can only be recovered from the intersectionality that is released in the ground of presentation, where all the elements break into overlap at the same time and in the same place.Universidade Federal do Rio Grande do Sul2020-06-26info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttps://seer.ufrgs.br/index.php/presenca/article/view/102024Brazilian Journal on Presence Studies; Vol. 10 No. 3 (2020): Jul./Set. 2020; 01-27Révue Brésilienne d'Études de la Présence; Vol. 10 No. 3 (2020): Jul./Set. 2020; 01-27Révue Brésilienne d'Études de la Présence; Vol. 10 No 3 (2020): Jul./Set. 2020; 01-27Revista Brasileira de Estudos da Presença; v. 10 n. 3 (2020): Jul./Set. 2020; 01-272237-2660reponame:Revista Brasileira de Estudos da Presençainstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSenghttps://seer.ufrgs.br/index.php/presenca/article/view/102024/57366Copyright (c) 2020 Revista Brasileira de Estudos da Presençainfo:eu-repo/semantics/openAccessMartínez, ArielMora, Ana Sabrina2020-06-26T23:02:52Zoai:seer.ufrgs.br:article/102024Revistahttp://seer.ufrgs.br/presencaPUBhttps://seer.ufrgs.br/presenca/oai||rev.presenca@gmail.com2237-26602237-2660opendoar:2020-06-26T23:02:52Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
title The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
spellingShingle The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
Martínez, Ariel
Transvestite Stage Performance
Intersectionality
Conjunction
Radical Alterity
title_short The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
title_full The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
title_fullStr The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
title_full_unstemmed The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
title_sort The Scenic Performance as Subversive Negativity: radical alterity and trava sudaca performance in the voice of Susy Shock
author Martínez, Ariel
author_facet Martínez, Ariel
Mora, Ana Sabrina
author_role author
author2 Mora, Ana Sabrina
author2_role author
dc.contributor.author.fl_str_mv Martínez, Ariel
Mora, Ana Sabrina
dc.subject.por.fl_str_mv Transvestite Stage Performance
Intersectionality
Conjunction
Radical Alterity
topic Transvestite Stage Performance
Intersectionality
Conjunction
Radical Alterity
description Considering the scenic performances of the artist Susy Shock, and in particular the stage presentation she makes of a so called monstrosity that maintains a series of elements that make up a scenic performance where the monstrosity can break into the field of intersection and conjugation, we offer some epistemological thoughts about the limits of identity representations versus stage presentations. Her poetic performances include songs of musical genres of Argentine folklore (vidalas, coplas, tangos), through the appropriation of a traditional cultural product in the voice of a transgender person. This produces the visibility of a radical alterity in the simultaneous presentation of elements that can only be recovered from the intersectionality that is released in the ground of presentation, where all the elements break into overlap at the same time and in the same place.
publishDate 2020
dc.date.none.fl_str_mv 2020-06-26
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/102024
url https://seer.ufrgs.br/index.php/presenca/article/view/102024
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/102024/57366
dc.rights.driver.fl_str_mv Copyright (c) 2020 Revista Brasileira de Estudos da Presença
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2020 Revista Brasileira de Estudos da Presença
eu_rights_str_mv openAccess
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Brazilian Journal on Presence Studies; Vol. 10 No. 3 (2020): Jul./Set. 2020; 01-27
Révue Brésilienne d'Études de la Présence; Vol. 10 No. 3 (2020): Jul./Set. 2020; 01-27
Révue Brésilienne d'Études de la Présence; Vol. 10 No 3 (2020): Jul./Set. 2020; 01-27
Revista Brasileira de Estudos da Presença; v. 10 n. 3 (2020): Jul./Set. 2020; 01-27
2237-2660
reponame:Revista Brasileira de Estudos da Presença
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
institution UFRGS
reponame_str Revista Brasileira de Estudos da Presença
collection Revista Brasileira de Estudos da Presença
repository.name.fl_str_mv Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)
repository.mail.fl_str_mv ||rev.presenca@gmail.com
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