Performatividade de gênero na maquiagem cênica: uma experiência no PIBID – Teatro na Escola Municipal Professor Veríssimo de Melo (2014-2016)

• Autor(a) principal: Oliveira, Nicholas Gomes Viana de
• Data de Publicação: 2017
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Repositório Institucional da UFRN
• Texto Completo: https://repositorio.ufrn.br/handle/123456789/38448
• topic: Teatro; Maquiagem; Educação; Performance; Gênero

This paper proposes to debate about the gender performativity that exists in the school context and that is revealed in the theater teaching. It suggests the reflection about the possibilities of social discussions, especially political ones at the moment of the characterization research of the character through the scenic makeup. In the process of staging, it is up to the actor to develop the strategies and resources that will use to create the character, such as body and voice. However, within the perspective of visual construction of the dramatic figure, I emphasize the relevance in the composition of the face through the makeup. The face reveals much respect for the individual. Also remembering that the costumes are part of the visual characterization of the character. Is makeup for boy or girl? Is there a male makeup artist or just a female makeup artist? Can a man who wears makeup be gay or can he be heterosexual? After all, what are the makeup genders? These issues are recurrent when one studies the makeup with young people, teenagers and even with adults. They are questions that are not only present in the discipline, but throughout the school, in our contemporary society. The importance of promoting reflections on such subjects can not be denied and the theater, the performing arts, is the medium that promotes this study. Even if there are political maneuvers to oppress such discussions, scenic makeup comes as a strategy, so that knowledge surpasses ignorance.